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Destructive Witnesses: JW, IS, Saudis, Brits, Byzantines

Thursday, June 30th, 2016

[ by Charles Cameron — religions taking other religions apart, stone by stone, image by image, song by song ]
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Some recently converted Jehovah’s Witnesses appear to have destroyed the altars of indigenous Otomi people in Mexico, an anthopologist has stated:

Assailants have damaged an ancient Otomi Indian religious site in Mexico, toppling stone structures used as altars, breaking carved stones and scattering offerings of flowers, fruit and paintings at the remote mountain shrine known as Mayonihka or Mexico Chiquito. [ .. ]

“I don’t know what religion they belong to, but they destroyed several images that were there,” said Daniel Garcia, the municipal secretary of the nearby township of San Bartolo Tutotepec. “The thing is, there are some religions that don’t believe in using idols.”

Luis Perez Lugo, a professor at the University of Chapingo, visited the site in May and talked to residents of a nearby hamlet, El Pinal, whose residents said they had carried out the attack.

“I was there, and the Jehovah’s Witnesses said they had done it,” Perez Lugo said, noting some were recent converts to the religion who used to go to the site for Otomi ceremonies.

See upper panel, below:

JWs and IS destroy sacred sites

In the lower panel, above, we see a detail from a National Geographic listing of sites attacked by the Islamic State. Three quick notes:

  • the JWs, if they were JWs, were recent converts; converts often have a zeal all their own
  • the IS, like the Taliban at Bamiyan, destroys ancient religious sites even if no longer in use
  • see Saudi Arabia Bulldozes Over Its Heritage for threats to Muhammad‘s birthplace & tomb
  • **

    Why?

    You already know this, but for the record — because Scripture:

    DQ 600 Graven Images

    In the upper panel, Jewish and Christian scriptures — from the Jewish Ten Commandments in Exodus, and St Paul‘s address to the Athenians, as recounted in the Acts of the Apostles.

    In the lower panel — a hard-line contemporary Islamic commentary, citing two ahadith.

    **

    So it’s Jehovah’s Witnesses and hard-line Muslim literalists who approve of the destruction of monuments to false gods, is that what this means?

    They are not alone. In the upper panel, below, recent news of the Chinese — avowed atheists — continuing their attacks on Tibetan Buddhism, this time by mandating the dismantling of Buddhism’s largest monastic university at Larung Gar:

    DQ 600 Larung Gar Glastonbury

    In the lower panel, above, we see some of what remains of the great Abbey of Glastonbury, torn down during the Dissolution of the Monasteries under King Henry VIII.

    Glastonbury has strong associations with Arthurian and Christian traditions:

    William Blake’s dramatic poem ‘Jerusalem’ familiar nowadays as an inspirational hymn, draws on the myth that Christ himself may have visited Glastonbury with Joseph of Arimathea and ‘walked on England’s mountains green’.

    The Gospels record that Joseph of Arimathea was a wealthy follower of Christ who buried Christ’s body in his own tomb after the Crucifixion.

    In the Middle Ages Joseph became connected with the Arthurian romances of Britain. He first features in Robert de Boron’s Joseph d’Arimathie, written in the twelfth century, as the Keeper of the Holy Grail. He receives the Grail (the cup used by Christ at the Last Supper) from an apparition of Jesus and sends it with his followers to Britain.

    Later Arthurian legends elaborated this story and introduced the idea that Joseph himself travelled to Britain, bringing the Holy Grail with him and then burying it in a secret place, said to have been just below the Tor at the entrance to the underworld. The spring at what is known as Chalice Well is believed to flow from there. In their quests King Arthur and the Knights of the Round Table searched for the Grail.

    Glastonbury retains its place in English hearts to this day, albeit in contemporary guise — it is the Yasgur’s Farm of England’s ongoing Woodstock — mud, sex, drugs, rock and all — the yearly Glastonbury Festival

    It is also — in the form of Blake‘s hymn “And did those feet in ancient time” — a part of such ceremonial events as the Last Night of the Proms — and Royal Weddings:

    But more on Blake’s poem — known as Jerusalem, and taken from his preface to Milton a Poem — in an upcoming post, Creek willing.

    **

    Finally, what an exceptionally lovely early DoubleQUote is this, returning us to the topic of sacred places and images and their destruction:

    Clasm_Chludov

    What we have here is a page from the Chludov Psalter — ask Wikipedia for that what means, I only just ran across it in the course of writing this piece — but it’s a 9th century Byzantine prayer book, illuminated with illustrations attacking the iconoclasts — those Christians who wanted to destroy icons and other Christian images for reasons not dissimilar ton those of the Taliban.

    Wikipedia, Chludov Psalter:

    In the illustration to the right, the miniaturist illustrated the line “They gave me gall to eat; and when I was thirsty they gave me vinegar to drink” with a picture of a soldier offering Christ vinegar on a sponge attached to a pole. Below is a picture of the last Iconoclast Patriarch of Constantinople, John the Grammarian rubbing out a painting of Christ with a similar sponge attached to a pole.

    Let’s take a closer look:

    Clasm_Chludov_detail_9th_century

    Both verbally and visually, then, we have a direct comparison of the Roman soldier mocking the dying Christ, and the icon-hating Patriarch erasing Christ’s image from a wall.. And they call him the Grammarian!

    But let’s proceed:

    John is caricatured, here as on other pages, with untidy straight hair sticking out in all directions, which was considered ridiculous by the elegant Byzantines.

    No punks, apparently, these Byzantines!

    And the coup de grâce? House the sacred book in a state museum..

    Nikodim Kondakov hypothesized that the psalter was created in the famous monastery of St John the Studite in Constantinople. Other scholars believe that the liturgical responses it contains were only used in Hagia Sophia, and that it was therefore a product of the Imperial workshops in Constantinople, soon after the return of the Iconophiles to power in 843.

    It was kept at Mount Athos until 1847, when a Russian scholar brought it to Moscow. The psalter was then acquired by Aleksey Khludov, whose name it bears today. It passed as part of the Khludov bequest to the Nikolsky Old Believer Monastery and then to the State Historical Museum.

    No monks will sing from it there..

    **

    Sources:

  • The Guardian, Jehovah’s Witnesses accused of damaging Otomi religious site in Mexico
  • National Geographic, Here Are the Ancient Sites ISIS Has Damaged and Destroyed
  • The American Muslim, Saudi Destruction of Muslim Historical Sites
  • Islam Question and Answer, Obligation to destroy idols
  • Lion’s Roar, China to displace 5,000 Tibetan Buddhist monastics
  • Plus ça change..

    Sunday, February 28th, 2016

    [ by Charles Cameron — iconoclasm ancient & modern ]
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    SPEC DQ destruction of altars

    **

    Ancient:

    Eamonn Duffy‘s “prize-winning account of the pre-Reformation church recreates lay people’s experience of religion in fifteenth-century England. Eamon Duffy shows that late medieval Catholicism was neither decadent nor decayed, but was a strong and vigorous tradition, and that the Reformation represented a violent rupture from a popular and theologically respectable religious system.”

    & modern:

    In Sarah Abu Abdallah‘s “work The Turbulence of Sea and Blood, 2015, we see disarrayed glimpses of multiple narratives such as that of: familial domestic tensions, a juvenile dream of going to Japan, the tendency to smash TVs in moments of anger, and eating fish. While using scenes from the artist’s surroundings and life in Saudi Arabia, like streets or malls, it never attempts to provide the whole picture, but takes a rhizomatic approach to tell a story of the everyday life.

    Hat-tip: Hend Amry, who describes the lower image as “Me, this election season”. You see the artist’s description above, “the tendency to smash TVs in moments of anger”. Myself, I view it as a magnificent illstration of the smashing of idols, akin to the Reformation’s dissolution of the monasteries..

    Mosul Museum: “between the real and its representation”

    Saturday, February 28th, 2015

    [ by Charles Cameron — last of three posts — the media studies / pomo side of the IS Mosul Museum rampage ]
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    Simulacra Baudrillard

    **

    It’s the sort of thing Bryan Alexander so often features in his Infocult blog — an instance of cyberfear. Writing of “Jihadi John” aka Mohammed Emwazi in the NYRB, Malise Ruthven says:

    The casual brutalism of his online videos — he decapitated five Western and two Japanese hostages as well as numerous Syrian soldiers, and posed with the severed heads — suggests the insidious way that a generation brought up in cyberspace may have lost the connection between the real and its representation.

    We’re in Baudrillard territory here, Simulacra and Simulation — even though it was written before digital / virtual “space” was much of an issue — is the relevant text here:

    Simulation is no longer that of a territory, a referential being or a substance. It is the generation by models of a real without origin or reality: a hyperreal. The territory no longer precedes the map, nor survives it. Henceforth, it is the map that precedes the territory – precession of simulacra – it is the map that engenders the territory..

    **

    This also bears relation to the bad news / good news, perhaps, of the IS video of iconoclasm in the Mosul museum:

    Mosul Museum: then the good news, perhaps

    Saturday, February 28th, 2015

    [ by Charles Cameron — second of three posts, this one more hopeful ]
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    Does ISIS really have SEVEN-FOOT tall executioners? Parts of grisly film showing beheading of 21 Christians were faked, claim experts

    Veryan Khan, of the Florida-based Terrorism Research and Analysis Consortium, told Fox News that there are several technical mistakes in the video that show it was manipulated.

    She said that in the shot of the terrorists marching their prisoners along the beach, the jihadis appear to be 7ft tall – towering as much as two feet above their victims.

    This observation was supported by Hollywood director Mary Lambert who described it as the shot with the ‘really tall Jihadists and the dwarf Christians.’

    **

    Analysis: Mosul Museum video from Islamic State could be a staged drama

    Britain’s Channel 4 television gave the Islamic State propaganda video to archaeologists to examine. Mark Altaweel, an American scholar at the Institute of Archaeology at University College London, noted the modern iron rebar protruding from inside some of the smashed statues. It disproves their authenticity.

    Nonetheless, the vandalism’s cultural insult strikes deep. The Iraqi people, Altaweel said, “are taking the destruction of their cultural heritage – their identity, essentially – just as seriously as the beheadings.”

    **

    The above ties in with the notion expressed in the LA Times article — where else? — Islamic State and its increasingly sophisticated cinema of terror:

    The cinematography is as crisp and chilling as a horror movie. Men in orange jumpsuits kneel on a beach beneath a sky of broken clouds. Executioners hover over them, dressed in black, knives aglint. A masked militant reads the death sentence. The camera pans across praying faces. Knives are raised, and 21 men are beheaded, blood spilling into the sand and mixing with the waves.

    This and other recent execution videos released by Islamic State are slickly produced narratives of multiple camera angles, eerie tension and polished editing that suggest the filmmakers are versed in Hollywood aesthetics. Brutal and perverse, the clips, some infused with music and subtitles, carry a primeval message stylized for a world wired to social media and hypnotized by an endless pulse of competing images.

    The beheadings and other killings, including the burning alive of a captured Jordanian fighter pilot, represent an increasingly sophisticated cinema of terror.

    For more on the media side of things, see the third and last post in this series.

    Mosul Museum: first the bad news, perhaps

    Saturday, February 28th, 2015

    [ by Charles Cameron — there’s some question as to the authenticity of the footage of destruction in the Mosul Museum, hence the triple post of which this is part 1 ]
    .

    First the grief, the terrible wailings:

    The reason for the grief:

    I have to say, I too was moved to tears by the video.

    The symbolic impact:

    An individual’s response ties the destruction of statuary in with the destruction of lives:

    A communal response as reported by the same individual:

    **

    Two useful articles:

  • from the Editor of the Middle East Journal, More on the Destruction in the Mosul Museum:

    Following up on those videos of ISIS smashing Assyrian antiquities in the Mosul Museum, here’s a roundup of commentary and detail from several websites around the preservationist community. And let me emphasize that I am not giving more weight to the destruction of antiquities than to the slaughter of human beings, but that barbarity is already well known.

  • and from The Atlantic, Erased: ISIS and the Destruction of Ancient Artifacts

    But another way to think about it is as squarely in a tradition of iconoclasm. Abraham, the patriarch of Judaism, Christianity, and Islam, himself destroyed idols, according to tradition. There’s a strong tradition of icon-destruction in Christianity. And in pre-Islamic Mecca, the Kaaba was the site of multiple idols, which Muhammad cleared out before rededicating the site to God. This is certainly the tradition to which ISIS wishes to claim a connection. The Taliban, another group that claimed fidelity to the principles of early Islam, also spent a great deal of time destroying images of people—most notably the massive Buddhas at Bamiyan in Afghanistan. The tomb of Muhammad in Mecca was itself destroyed by Ibn Saud, the first monarch of Saudi Arabia, early in the 20th century.

    The fog of war makes it tough to tell when genuine artifacts are missing or in danger.
    In reality, the relationship with icons in all three Abrahamic religions is rather more elaborate than Abu Bakr al-Baghdadi would want us to believe—but the tradition is there. Destroying traces of forebears, and even robbing and destroying tombs, has perhaps a longer tradition in civilization than preservation.

    ISIS can’t claim total purity on the matter itself, either. The group has widely been reported to be profiting by selling plundered artifacts on the black market.

  • **

    And let’s not forget the Christian tradition of iconoclasm, both Orthodox and Protestant, either:

    The torture and martyrdom of the iconophile Bishop Euthymius of Sardeis by the iconoclast Byzantine Emperor Michael II in 824, in a 13th-century manuscript

    The torture and martyrdom of the iconophile Bishop Euthymius of Sardeis by the iconoclast Byzantine Emperor Michael II in 824, in a 13th-century manuscript


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