Category: Culture

  • The screening of a far-right film at the London festival canceled

    Organizers of the London Film Festival have pulled out of screening a documentary about far-right activity and funding in Britain and beyond due to “risks to safety and well-being”.

    The documentary – “Undercover: Exposing the Far Right” – investigates far-right figures in the UK and Europe, as well as funding from the United States, using an undercover reporter and hidden cameras. The film was due to be screened at the festival in the British capital at the weekend and broadcast on Britain’s Channel 4 on Monday night.

    The production comes just months after anti-immigrant riots erupted in parts of Britain, which officials blame on far-right agitators for inciting and igniting. The documentary follows the campaigns of the anti-extremism charity Hope not Hate, which investigates the far right in Britain and the money behind how “prejudice” is spread online.

    Comments after the screening has stopped

    “After exploring all possible options for screening this film at a public film festival, we have made the decision not to present UNDERCOVER: Exposing the Far Right at LFF,” said festival director Christy Matheson, who called the film “exceptional and one of the – the best documentaries I’ve seen this year”.

    “However, festival workers have a right to feel safe and have their mental health and wellbeing respected in the workplace. I have taken into account the expert opinion of colleagues about the safety and welfare risks that the screening could have created for the audience and crew, and it served as the basis for our decision, which we did not take lightly,” she added.

    Director Havana Marking expressed his disappointment at the London Film Festival’s decision. “I understand the fear that people feel, but I am very disappointed that an alternative method of screening was not found. It is becoming increasingly difficult to make films like this and the loss of this audience is upsetting,” she noted.

  • The Ephesus Experience museum was named the best in the world

    Even if you’ve been to Ephesus before, be sure to do it again if you find yourself in the Izmir region of Turkey. The remains of the ancient city were discovered in 1863, and only 37% of it has been discovered and preserved today, but archaeologists continue to work and Ephesus reveals more and more of its ancient secrets.

    Recently, Ephesus, a UNESCO World Heritage Site, has a new interactive museum that will immerse you, with all your senses, in the thousand-year history of one of the best-preserved ancient cities in the world.

    Ephesus Experience won top honors in the Best Museum category at this year’s MONDO-DR Awards. The awards are among the most prestigious in the fields of technology, design and exhibitions in the world and this year they were presented in June in Las Vegas, USA.

    The awards, organized by MONDO-DR magazine, were established in 2017 to honor the best installation projects in the world. Over time, the awards began to also celebrate achievements and best projects in the exhibition and hospitality sector, focusing on the design of exhibition venues, visitor experiences and technical installations. The Ephesus Experience Museum was awarded the prize, thanks to the high evaluation of an independent jury, which recognized the project as outstanding worldwide.

    An immersive symphony

    The Ephesus Experience is one of the first museums in the world to combine experiential museology with age-old storytelling. As one of the most intriguing destinations on Turkey‘s Aegean coast and one of the most significant ancient cities in the world, Ephesus attracts thousands of tourists every year. In addition to being known as one of the greatest port cities of its time, it was also included in the UNESCO World Heritage List in 2015. Using innovative technology, the Ephesus Experience museum gives visitors the opportunity to personally experience the daily life, trade, architecture and art of the city during these golden ages.

    Developed by DEM Museums, the Ephesus Experience was designed by a large team including architects, curators, designers, artists, technology experts, historians and archaeologists from leading companies and academic institutions in Turkey and around the world. The museum immerses you in an unforgettable journey in which you walk the streets of Ephesus, peer into the secrets of the ancient world and touch everyday life in the past.

    Ephesus has existed since the Neolithic, but gained importance during the Roman Empire as the capital of Asia Minor and a very important port. As the second most important city in the Roman Empire, it grew and flourished. Its population of about 250,000 people – metropolis in the context of ancient times, is mostly educated and wealthy, and its buildings are richly decorated and speak of the interests and well-being of its inhabitants.

    Today, Ephesus is not on the seashore – the passing river for centuries brought sediment to the port and eventually clogged it. The city’s decline also coincided with disasters such as the plague and an earthquake in the 12th century. In the following years, the city continued to exist, only to be finally abandoned in the 15th century.

    Landmarks in the ancient city include the Library of Celsus and the Great Theatre, which has a capacity of 30,000 spectators; the ruins of the Temple of Artemis; The Gate of Mazeus and Mithridates; the temple of Hadrian and the terrace houses.

    In ancient Ephesus, they worshiped the Mother Goddess, symbolizing fertility, who gradually acquired the image of the Hellenic goddess of hunting and nature, Artemis. In her honor, one of the Seven Wonders of the Ancient World was erected in Ephesus – the Temple of Artemis, of which only parts of columns remain, unfortunately.

    One of the grandest and best-preserved buildings is the Library, which was also a university. It is the third largest library in the Greco-Roman world after Alexandria and Pergamon. Unlike the first two, however, here the library is amazingly preserved. And across from her is the brothel.

    The two buildings were connected by a tunnel.

    On the street in front, on the port side, probably the first advertisement of the place for carnal pleasures has been preserved – it guides sailors and all those who want to find love.

    The public toilets, which were a place for active social life, have also been preserved. Dozens of sufficiently large holes are drilled in the stone “benches”, a channel with running water runs below. There was also a fountain with scented jets for freshness. The slaves had to warm the cold stone with their bare bottoms before their masters took their turn.

    The recently opened terraced houses of Ephesus are also impressive. Three residential complexes have been preserved, only one is open to visitors. It consists of several residences on an area of ​​2500 sq.m. – on three terraces one above the other, directly opposite Hadrian’s Temple.

    Remains of a private bath, a huge reception hall with painted walls and red and green marble cladding are preserved. The houses were built in 1st century, they were last inhabited in the 12th century.

    The House of the Virgin Mary, in which the Virgin is said to have lived after the resurrection of Jesus, is very close.

    “The abode of the Blessed Virgin Mary was not located in Ephesus itself, but three to four hours away. It stood on a height where several Christians from Judea had settled, among them holy women, her relatives. Between this height and Ephesus a small river flowed with many crooked curves.” This is the vision of the nun and clairvoyant Anne Catherine Emmerich, according to which the house was discovered in the 19th century.

    In 1822, the Blessed Virgin appeared before her and described in detail the place where she lived until her Assumption. Everyone believed the nun unconditionally, because they knew that she had never left Germany. When pilgrims set out to verify the fortune teller’s words, in Turkey – in Ephesus, at the place indicated by Anne Catherine, they actually found a house that exactly matched the one described by the nun.

    After the nun’s death, her visions were published in a book by Clemens Brentano. The Catholic Church has not ruled for or against the house’s authenticity, but has nevertheless maintained a steady stream of pilgrimages since its opening. Anne Catherine Emmerich was beatified by Pope John Paul II on October 3, 2004.

    The House of the Virgin is not by chance in Ephesus – the ancient city played a large role in early Christianity.

    Tradition claims that Ephesus is the city where St. John the Apostle came with Mary after the resurrection of Christ. In the Gospel of St. John we read: “When Jesus saw his mother and the disciple whom he loved standing near him [by the cross], he said to his mother: ‘Mother, behold your son!’ Then he said to the disciple: ‘Behold your mother!’ From that moment on, this disciple took the mother of Jesus into his own home” (19:25-27).

    Next to the house of the Mother of God, a spring with healing water gushes out from under the ground. Around it is a wall where everyone can write their wish. Tie a handkerchief or ribbon to the specially placed grid and say out loud what you dream about.

  • Sunday Markets In Brussels – Where To Find Unique Local Treasures

    Brussels is a vibrant city brimming with charm, and its Sunday markets are the perfect place for you to discover unique local treasures. Whether you’re hunting for handmade crafts, delicious street food, or vintage finds, these markets offer a delightful experience for bargain hunters and culture enthusiasts alike. Join us as we explore the best spots to uncover hidden gems and immerse yourself in the local scene every Sunday!

    What Are Sunday Markets?

    Your experience in Brussels isn’t complete without visiting its vibrant Sunday markets. These bustling marketplaces are more than just a shopping destination; they’re a celebration of local culture where you can discover unique treasures handcrafted by artisans, indulge in delicious local cuisine, and even pick up vintage finds that tell a story. As you stroll through the lively stalls, you’ll find a delightful blend of fresh produce, artisanal goods, and creative crafts, making these markets the perfect spot to absorb the local atmosphere and engage with the community.

    A Brief History

    Against the backdrop of Brussels’ rich history, Sunday markets have long served as communal gathering points where people come together to celebrate local traditions and share stories. These markets have evolved from simple barter systems into well-organized events that showcase the talents and tastes of the region. Over the years, they have transformed into a vibrant tapestry of culture, reflecting the diverse populations that call Brussels home.

    As you walk through these markets, you’ll encounter remnants of the past in the form of traditional crafts and time-honored recipes, each telling a story of Brussels’ heritage. The spirit of these markets reverberates through their lively atmospheres, inviting you to connect not just with the items for sale, but with the history and culture that surround them.

    The Essence of Community

    Against the fast-paced nature of modern life, Sunday markets in Brussels stand as a testament to the strength of community bonds. They provide a platform for local farmers, crafters, and artists to showcase their work, allowing you to interact directly with the people behind the products. This personal connection adds a layer of depth to your shopping experience, making it feel more meaningful and fulfilling.

    What makes these markets truly special is the sense of belonging they foster. As you browse through the stalls, you can chat with vendors, listen to live music, and enjoy the colorful array of sights and sounds around you. It’s not just about finding a unique treasure; it’s about being part of a vibrant community that celebrates creativity, sustainability, and local pride. By visiting these markets, you not only support local businesses but also help preserve the rich cultural landscape of Brussels.

    Popular Sunday Markets in Brussels

    Assuming you’re ready to look into the lively world of Brussels’ Sunday markets, you’re in for a treat. The city is home to several popular markets where you can discover unique local treasures that make for perfect souvenirs or gifts. Each market has its character and offerings, so let’s explore the highlights.

    Marché du Midi

    On Sundays, the Marché du Midi is a bustling haven for passionate food lovers and treasure seekers alike. This vibrant market features an array of stalls showcasing fresh produce, specialty cheeses, gourmet meats, and a kaleidoscope of international flavors. Here, you’ll find everything from traditional Belgian delicacies to global cuisines that reflect Brussels’ diverse culture.

    On your visit, take a moment to chat with the friendly vendors. They can provide insights about their products and share stories about local recipes. Don’t hesitate to sample a few treats; the market is an excellent place to indulge in local flavors while exploring the rich culinary heritage of Brussels.

    Place du Jeu de Balle

    Balle de Jeu de Balle is a charming flea market that draws treasure hunters eager to unearth unique finds. This vibrant square comes alive with stalls filled with antiques, vintage clothes, and quirky collectibles. You never know what you might discover – from rare vinyl records to beautiful second-hand furniture, the possibilities are endless.

    Exploring this market not only allows you to find one-of-a-kind items but also to experience the eclectic atmosphere of Brussels. Here, you can enjoy a leisurely Sunday morning, sipping coffee while browsing through stalls and mingling with locals who share your passion for all things vintage.

    Understanding the history behind Place du Jeu de Balle can enhance your experience. Situated in the Marolles district, this area is known for its artistic vibe and cultural significance. The market has been a fixture for decades, bringing together both locals and visitors as they hunt for hidden gems and enjoy the lively surroundings.

    Flagey Market

    Before you head to the Flagey Market, you should know that it takes place beside the picturesque Flagey Square. This market has an air of sophistication, with stalls dedicated to fresh produce, local cheeses, organic products, and artisanal breads. You’ll relish the atmosphere as locals bustle around, sharing recipes and tasting samples from vendors.

    The Flagey Market also prides itself on promoting sustainable farming and local artisans, so by shopping here, you contribute to the community while enjoying fresh, delicious produce. In addition to food, you’ll also find handicrafts and unique gifts that beautifully reflect the spirit of Brussels.

    This market deserves a visit for its lively ambiance and dedication to local produce. Plus, the beautiful architecture of the Flagey building surrounding the market creates a stunning backdrop that makes shopping here a delightful experience.

    Les Halles Saint-Géry

    By choosing to visit Les Halles Saint-Géry, you’re stepping into a historic space that perfectly marries the old with the new. This former market hall is now a hub of creativity, where local artisans showcase their crafts and delicious food stalls offer a taste of the best regional specialties. With its lively atmosphere and engaging community spirit, this market is a perfect spot to immerse yourself in Brussels’ culture.

    The market often features live music and art displays, adding an extra layer of enjoyment to your shopping trip. It’s a hub where you can mingle with like-minded locals and tourists, creating an unforgettable experience as you hunt for your new favorite local treasures.

    Brussels is a city full of surprises, and exploring its Sunday markets is a delightful way to connect with the local community while indulging in your passion for unique finds. Each market not only offers a treasure trove of goods but also a glimpse into the vibrant culture and creativity that define this beautiful city. Happy treasure hunting!

    Unique Treasures to Discover

    All around Brussels, Sunday markets are a treasure trove of unique finds waiting to be discovered. You’ll find everything from artisanal goods and vintage clothing to local produce and handcrafted jewelry. Each market has its own character, offering a diverse collection of items that reflect the creativity and culture of the local community. Be prepared to spend your day exploring aisles of stalls filled with one-of-a-kind items that you won’t find anywhere else.

    Artisanal Goods

    Along your journey through the bustling markets, you will encounter a delightful variety of artisanal goods made by local craftsmen and women. From handmade candles to organic skincare products, each item tells a story of care and dedication. You might even come across unique home decor pieces that add a personal touch to your space, perfect for a special gift or a treat for yourself.

    Artisans use traditional techniques passed down through generations, showcasing their skills and passion. When you purchase these local treasures, you’re not just getting a product; you’re supporting the entrepreneur behind it. You’ll likely forge connections with the makers who are eager to share their stories and inspirations, making your shopping experience even more meaningful.

    Vintage Finds

    Finds that boast a little history are prevalent in Brussels’ Sunday markets, where vintage clothing and accessories are not only stylish but often come with their own tale. Each item, from thrifted dresses to retro vinyl records, evokes a sense of nostalgia that’s hard to resist. As you sift through the racks, you could stumble upon a unique piece that reflects your personal style and stands out from mass-produced fashion.

    Considering the rich history of Brussels, some vintage items you come across could date back several decades, offering a glimpse into different eras of fashion and culture. It’s a great opportunity to add character to your wardrobe or collectibles to your home, while enjoying the thrill of the search. You never know what hidden gems might become cherished parts of your collection!

    Local Produce

    Among the vibrant stalls, you’ll have the chance to taste and purchase an array of locally sourced produce. Fresh fruits, vegetables, and even homemade jams and cheeses are plentiful at Sunday markets, appealing to food enthusiasts and health-conscious buyers alike. Engaging with local farmers and producers not only helps you choose the best quality ingredients, but also gives you insight into sustainable practices and seasonal offerings.

    Indeed, this experience lets you support the community while enjoying the freshest flavors Brussels has to offer. Whether you’re in search of ripe tomatoes or exotic herbs, incorporating local produce into your meals allows you to savor the true taste of the region. Plus, you’ll gain inspiration for your next culinary adventure while stocking up on ingredients that are top-notch in flavor!

    Handcrafted Jewelry

    Treasures of all kinds await you, particularly if you have an eye for beautiful handcrafted jewelry. From delicate necklaces to bold statement pieces, the creativity of local artisans shines through in their unique designs. You’ll find an unforgettable assortment of one-of-a-kind rings, bracelets, and earrings that often feature locally sourced materials and innovative craftsmanship.

    Goods such as handcrafted jewelry make fantastic souvenirs or gifts, as they perfectly capture the essence of Brussels’ artistic flair. Moreover, with the opportunity to connect directly with the makers, you might uncover the stories behind their pieces, adding a personal touch to your purchase. This experience transforms the act of shopping into a memorable journey about culture and creativity.

    Tips for Making the Most of Your Visit

    Despite the vibrant atmosphere and countless stalls at the Sunday markets in Brussels, there are a few tips that will help you optimize your experience. With a bit of preparation and insight, you can navigate the bustling crowds and uncover unique gems. Here are some handy suggestions for you:

    • Arrive early to beat the crowds and have first pick of the treasures.
    • Bring cash, as some vendors may not accept card payments.
    • Wear comfortable shoes; you’ll be doing a lot of walking.
    • Take a reusable shopping bag to carry your finds.
    • Chat with vendors for insider tips on the market and local culture.

    After following these tips, you’ll find yourself well-equipped to make the most of your market adventure.

    Best Times to Go

    Between the early morning and late afternoon, the markets are alive with energy. Arriving early not only gives you the chance to beat the crowds, but it also allows you to see the best selection of locally crafted goods before they’re gone. Mid-morning is also popular as locals tend to flock in for brunch, creating a lively atmosphere, but be prepared for a bit of a squeeze.

    If you prefer a more leisurely experience, consider visiting later in the afternoon. Some vendors may start offering discounts to clear out their stock, giving you a chance to snag some bargains. Overall, finding the balance between busy and quiet is key to optimizing your visit.

    Transportation Options

    An array of transportation options is available to help you reach Brussels’ Sunday markets with ease. The city’s extensive public transport network, including trams, buses, and the metro, makes it simple to navigate from one market to another. If you prefer a more scenic route, consider renting a bike or using a scooter, both of which are popular ways to explore the city.

    Due to the popularity of the markets, parking can be limited, so it might be wise to rely on public transportation or active modes of travel. The central location of many markets also means you may find yourself within walking distance of your accommodation or nearby attractions. Whether you choose to hop on public transport or travel on foot, the journey to the markets can be as enjoyable as the treasures awaiting you.

    What to Bring

    Making the most of your Sunday market trip means being prepared with the right items. A sturdy tote bag is vital for carrying your purchases, and bringing along a small cooler or insulated bag can help keep any perishables fresh. Don’t forget water to stay hydrated, especially if you plan to spend a few hours exploring. Your own snacks can be a great way to keep your energy up while you wander through the various stalls.

    In addition, consider bringing a camera or your smartphone to capture the vibrant scenes and unique finds along the way. The colorful displays and lively atmosphere are sure to make for some memorable photos that you’ll cherish long after your visit. Plus, you’ll want to document those special local treasures you discover along the way!

    Engaging with Local Sellers

    Not only will you discover unique treasures at Brussels’ Sunday markets, but you will also get the chance to engage with the passionate sellers behind these goods. Connecting with local artisans and vendors can turn your shopping experience into a delightful adventure. Take a moment to explore the stalls, ask questions, and listen to their stories. If you’re curious about more hidden gems, check out the 11 hidden treasures to discover in the streets of Brussels. You’ll not only find beautiful items but also the spirit of Brussels woven into each product.

    The Importance of Supporting Local

    Behind every handcrafted item lies a story and a person with a passion. When you choose to buy from local sellers, you’re not just purchasing a product; you’re supporting a community. The money you spend helps sustain local economies and fosters creativity among artisans, allowing them to continue their craft and share their culture with you.

    Additionally, by opting for local goods, you help reduce environmental impact. Local sellers produce with a smaller carbon footprint, ensuring that you enjoy unique items that also benefit the planet. So, next time you’re at a market, consider the positive effects your purchase might have on the local community and environment.

    Stories Behind the Stalls

    Stories of resilience, creativity, and passion resonate from each stall at the market. As you engage with the sellers, you’ll uncover the rich narratives behind their creations. From a grandmother’s recipe passed down through generations to an artisan inspired by the vibrant history of Brussels, these tales give character to your finds. Each purchase becomes a part of a larger story, making your treasure truly special.

    Supporting local artists not only allows them to thrive but also connects you to the heartbeat of the city. Their stories celebrate the unique culture of Brussels and can transform your shopping experience into a meaningful exploration of the local heritage.

    Building Connections

    Local sellers thrive on interaction. As you strike up conversations, you’re likely to find common interests or even share personal stories that enrich your understanding of the items you’re considering. These interactions can lead to friendships that extend beyond the marketplace. The community spirit you find at these markets often fosters a sense of belonging, reminding you that you are part of something larger.

    Stalls become more than just shopping spots when you build these connections. The vendor might remember your name on your next visit, making you feel like you truly belong to the vibrant fabric of the market. By nurturing these relationships, you contribute to an ongoing dialogue that keeps the culture and community alive.

    Family-Friendly Activities

    Once again, Sunday markets in Brussels offer a delightful experience for families, ensuring that everyone in your household can enjoy the treasures that await. From fun activities for the little ones to delicious dining options for everyone, these markets are the perfect weekend outing for you and your family.

    Kid’s Zones and Entertainment

    Along the bustling pathways of the Sunday markets, you will often find well-structured kid’s zones designed to keep your children engaged and entertained. These areas typically feature bouncy castles, face painting stations, and art corners that inspire creativity. As you stroll through, you’ll notice smiles on the faces of children as they immerse themselves in games and crafts tailored just for them.

    Additionally, many markets host live performances, including puppet shows and street performers, that add an extra layer of excitement and whimsy to your day. The friendly atmosphere encourages laughter and joy, making your family’s outing a memorable experience.

    Family Dining Options

    Below the bustling stalls and energetic activities, you’ll discover a variety of family dining options that cater to all tastes. Countless food vendors present traditional Belgian cuisine as well as international dishes, ensuring that even the pickiest eaters will find something they love. Grab some waffles for a sweet treat or share a plate of moules-frites for a hearty meal.

    Due to the diversity of food choices available, you can make the most of your market visit by sampling different flavors and supporting local vendors. Whether you’re in the mood for a quick snack or an enjoyable sit-down meal, you’ll find plenty of tables and seating for you and your family to savor your food while soaking in the ambient market vibes.

    Engaging Workshops and Classes

    With educational and engaging workshops available at many Sunday markets, you’ll find opportunities for your kids to learn and have fun simultaneously. Crafts, cooking classes, and interactive experiences that teach new skills are commonly hosted in these vibrant marketplaces. You can try your hand at making local delicacies or participating in arts and crafts sessions, making suitable treasures to take home.

    For instance, some markets offer special programs where your children can cook alongside local chefs or create unique crafts that reflect Belgian culture. These workshops not only keep your kiddos entertained but also provide valuable bonding experiences as you investigate these activities together, enriching your family outing to the market.

    To wrap up

    With these considerations, you’re well on your way to discovering the charm of Sunday markets in Brussels. Whether you’re on the lookout for artisanal goods, fresh produce, or one-of-a-kind vintage finds, these vibrant markets offer an ideal setting for you to immerse yourself in local culture. By strolling through the stalls, interacting with passionate vendors, and enjoying the lively atmosphere, you’ll not only uncover unique treasures but also create lasting memories. Plus, exploring these markets is a wonderful opportunity to support local artisans and businesses, enriching your overall experience.

    So, grab your reusable tote bag and head out to experience the delightful Sunday markets of Brussels. Explore all the hidden gems waiting for you, and don’t be surprised if you find that special item that perfectly captures the spirit of your journey. Dive into the local flavors, sounds, and sights, and enjoy your weekends filled with adventure, community, and exploration in this beautiful city!

  • Deciphering the Origin of Christopher Columbus: A 500-Year Journey

    After five centuries of speculation and theories, the true identity of Christopher Columbus has begun to emerge thanks to the documentary “Columbus DNA: his true origin ’, produced by RTVE. This feature-length film, which details 22 years of research led by forensic scientist and professor at the University of Granada, José Antonio Lorente, has revealed that the man who discovered America was, in fact, Jewish.

    The investigation began with the search for Columbus’ mortal remains, which were believed to be in Seville or the Dominican Republic. Science has confirmed that the remains in the Cathedral of Seville belong to the admiral. An analysis of the bones of his son, Hernando Colón, was crucial in establishing the parentage and resolving a 150-year dispute between Spain and the Caribbean nation. Hernando’s DNA results showed traits compatible with a Jewish origin, both in the ‘Y’ chromosome and in mitochondrial DNA.

    The documentary, presented in a true crime format, chronicles the genetic research process, where 25 possible origins of Columbus were examined and narrowed down to eight plausible hypotheses. As the theories were presented, DNA dismantled many of them, leading to the conclusion that Columbus was not Genoese, as had been believed for centuries.

    Researcher Francesc Albardaner, who led one of the lines of research, argues that Columbus was Jewish and places him in the western Mediterranean, specifically on the Iberian peninsula, where at the time of Columbus there were around 200,000 Jews. In contrast, in Italy, the Jewish population was significantly smaller. Albardaner argues that Columbus’ history as a Genoese enters into crisis if his Jewish origin is accepted, as Genoa had expelled the Jews in the 12th century.

    Research also revealed that the surname Colombo, common in Italy, was used for abandoned children, further complicating the narrative of an Italian Columbus. In addition, the Columbus letters, which are preserved in large numbers, are written in Spanish, with no Italian influence.

    The documentary also addresses other enigmas about Columbus’ life, including the revelation that his brother Diego was not really his brother, but a distant relative. Throughout his life, Columbus concealed his origin, possibly due to the persecution faced by Jews in the Iberian Peninsula. In 1492, an ultimatum was issued forcing Jews to convert to Christianity or leave the kingdoms of the Catholic Kings.

    Albardaner suggests that Columbus, throughout his life, had to appear to be a devout Christian to avoid persecution. The research also highlights the support Columbus received from Jews and converts, such as the Duke of Medinaceli and Luis de Santángel, who played a crucial role in financing his expedition to America.

    Finally, Lorente concludes that the DNA indicates a Mediterranean origin for Columbus, suggesting that his most likely provenance is in the Spanish Mediterranean arc or in the Balearic Islands, which at that time belonged to the Corona de Aragón. With this new evidence, the documentary not only rewrites the story of Columbus, but also invites a deeper reflection on the identity and legacy of the man who changed the course of history.

    References and Links:

  • The Jewish Question and the Bulgarian Cinematography

    By Biserka Gramatikova

    The year is 1943 and Bulgaria has just told Hitler that he will not receive the Bulgarian Jews. The untold but true tale of how nearly 50,000 Jewish Bulgarians were saved from deportation and death – true story from a forgotten chapter of European history. Europe’s major powers are at war and King Boris III of Bulgaria must choose a side or be swept away. How the power of the civil society in Bulgaria outwitted the Nazis and save nearly 50,000 Jewish lives!

    The subject of the Holocaust is still difficult to comprehend, but art and, in particular, cinema does not stop with attempts. As a result, we have films that have become timeless classics: Roberto Benigni’s Life is Beautiful, Alan Pacula’s Sophie’s Choice, Steven Spielberg’s Schindler’s List, Roman Polanski’s The Pianist, and many others.

    In the second half of the 1950s, Bulgarian cinematography, nationalized in 1947 by the new communist government, began to feel a slight improvement. New forces and ideas flow into creative life due to the death of Stalin, which changes the course of social development in the countries oriented towards the USSR. One of the most important new trends in art is the desire to recreate more complex, ambiguous characters in acute life situations.

    This new creative breath, albeit with a slight delay, reaches the Bulgarian cinema, which allows itself to imitate the more developed world cinematography.

    In the 50s, some of the most notable Bulgarian directors made their debut, including Rangel Valchanov. Already in his debut film “On the small island” Valchanov worked with the screenwriter Valery Petrov. The film is aimed at those born after the victory of fascism, who have forgotten the horror and high cost of that historical time. The characters are prisoners on an island in the Black Sea who plot an escape.

    The Central Committee of the Bulgarian Communist Party accuses the film of pessimism and a lost sense of historical perspective. The authorities are watching the film industry, ready to cut off all attempts at “ideological deviations” from the generally accepted official historical-political line. Nevertheless, the film remains in history as one of the best productions in our latitudes for its time.

    “Stars” (German: Sterne) is a 1959 feature film (war, drama) directed by Konrad Wolff and Rangel Valchanov. The screenwriter of the co-production between Bulgaria and the DDR is Angel Wagenstein.

    The plot tells about the events of 1943, when a group of Nazi soldiers escorting Greek Jews to the Auschwitz death camp stopped in a small Bulgarian town.

    Walter (Jürgen Frorip), a non-commissioned officer from the German army, skeptical and intellectually insecure, most unexpectedly even for himself, falls in love with the Jewish girl Ruth (Sasha Krusharska). This new feeling makes him rethink what is happening around him and brings him face to face with the inhumane nature of fascism.

    In its essence, the film “Stars” is anti-fascist. It is almost an independent genre in Soviet cinema. Usually in these plots the heroism of the mass and the collective is emphasized. However, due to its sincere attitude towards the Jewish question, the film managed to earn a special prize of the Cannes jury and the following definition from a prestigious French publication:

    “It is certainly one of the most human films dealing with the Jewish question. Its greatness is that it is devoid of all propaganda.”

    "Stars" is considered to be the first German film to deal with the subject of the Holocaust and the responsibility of the Germans for the tragic historical events. In Bulgaria, the tape was stopped from distribution because of "abstract humanism". A particular controversy is the lack of distinction between the Jewish bourgeoisie and the Jewish proletariat.

    When we talk about the era and say that Bulgarian cinema looks outside to get a charge. Such a charge was made for the first time in Europe with Wanda Jakubowska’s film The Last Stage (1947), one of the striking productions of the Polish School. This is the first film about the Holocaust, and its plot is based on autobiographical motifs from Jakubovska’s life. The tape was shot in Auschwitz, where the director ended up in 1942.

    November 10, 1989 the Bulgarian cinematography changed radically.  Hopes of a boom as soon as the funding was in private hands proved to be more than delusional. On the contrary, nobody seems to have a clear idea of ​​how to make cinema outside the familiar structure, and the network of movie theaters has been destroyed.

    Аt the end of the 20th century and the beginning of the 21st did worthwhile film productions appear, subject to analysis and evaluation.

    Ivan Nichev is one of the few Bulgarian directors who manage to fit into the chaotic creative environment in our country and create films that are significant in a European context.

    Nichev created the Jewish trilogy “After the End of the World” (1998), “Journey to Jerusalem” (2003) and “The Road to the Costa del Maresme” / “Bulgarian Rhapsody” (2014). The last of the three films is the first Israeli-Bulgarian film co-production, shot on the occasion of the 70th anniversary of the rescue of the Bulgarian Jews.

    "This topic is both familiar and unfamiliar," says the director. "In the very beginning, when I was showing After the End of the World in America, it struck me that a lot of people weren't quite aware of the story. I was invited there eight or nine times in various cities and festivals, I traveled almost all over America. Many people had a hard time guessing where our small, wonderful country was located. And this makes me ambitious to make the second film - "Journey to Jerusalem", because it is worth it for these people to know about the glorious pages of ethnic tolerance and good neighborliness, especially in a region such as the Balkans.

    “The Bulgarian is capable of selfless acts of dedication to the other person, even when it is very difficult. It is something we must remember that we possess. Of course, in difficult times like ours, such feelings begin to dull. But we should not think that our people are not capable of magnanimous gestures towards the neighbor. History shows it and it is national pride,” says the director in another interview.

    Note: A presentation “The Jewish Question and Bulgarian Cinema” was given by youth facilitator Biserka Gramatikova at the interfaith weekend “Seeding the Peace.BG” (26-29.09.2024)– a continuation of URI Europe‘s interfaith camp held in August in The Hague, resonating with this year’s UN Day of Peace theme: Cultivating a Culture of Peace. The session presented a film retrospective dedicated to one of the darkest pages in human history, which for a number of reasons brings us Bulgarians one of the brightest examples of tolerance and unity around a humane cause.

    Photo: Screenshot from the film “Stars” (German: Sterne), Bulgaria-Deutsche Demokratische Republik, a 1959 feature film (war, drama) directed by Konrad Wolff and Rangel Valchanov.

  • Ancient Scythian mounds in Ukraine destroyed: Another violation of the Geneva Convention

    Russian forces have destroyed ancient burial mounds on the front line in southern Ukraine. In doing so, they potentially violated the Hague and Geneva Conventions, according to a study by the Ukrainian Conflict Observatory published on September 4, the Kyiv Independent reported.

    In Ukraine, there are many ancient graves known as kurgans – up to 20 meters high and dating back to 3000 BC. They contain archaeological treasures, including from the Scythian era.

    The Conflict Observatory analyzed open geospatial data to find that the two sites in the Vasilovsky district of Zaporozhye Oblast, for example, were damaged during their occupation by the Russian armed forces. In addition, they were used by the Russians for military purposes as military infrastructure was built around them.

    Apart from the military constructions, the damage “may mean looting or destruction of the mound-related artifacts and ancient remains,” the report said.

    Since cultural heritage is entitled to protection under international law, damage to the sites and their potential looting may constitute a violation of international humanitarian law under the Hague and Geneva Conventions.

    Additionally, the limitations of open-source intelligence research suggest that “the true number of archaeological sites affected by Russian fortification construction is likely to be much higher than documented in this report,” the observatory added.

    Russia’s war against Ukraine has had a severe impact on Ukrainian cultural heritage, destroying around 2,000 cultural sites and leaving 1.5 million museum artifacts in Russian-occupied territories. The Parliamentary Assembly of the Council of Europe (PACE) passed a resolution in late June recognizing Russia’s genocidal intent to destroy Ukraine’s cultural heritage and identity.

  • The ancient Roman road Via Appia is now on the UNESCO World Heritage List

    The ancient Roman road Via Appia has been included in the UNESCO World Heritage List, which now includes 60 sites located in Italy, AP reported.

    The decision was made at the session of the organization’s World Heritage Committee, which is being held in the Indian capital of Delhi.

    Italy is the absolute world champion in terms of the number of sites and historical artifacts included in the World Heritage List.

    Via Appia was built during the time of the Republicans in Ancient Rome (312 BC) and bears the name of the ruler who built it – Appius Claudius Cec. This road was an advanced engineering facility and also allowed Rome to conquer the southern territories.

    It was used to connect Greece, Egypt and Asia Minor. The route of the ancient road passes through more than 70 settlements, 15 parks, 12 cities and four districts.

    At every Roman mile of the road there was a post that marked the distance and an inscription which emperor was ruling at the time. Every 19 miles there were designated recreation areas. Twenty-five universities nowadays study the Via Appia.

    The stretch of Via Appia in Rome is today part of an extensive park. Along it there are tombs and villas from the republican and imperial periods.

    In Ancient Rome, nobles and generals were often buried by the roadside for some glorification, as each traveler learned the name of the interred and his prowess. The first Jewish and Christian catacombs are also located there.

    The Via Appia is also associated with Spartacus’ revolt. After its suppression, 6,000 warriors were crucified along the road.

    Photo: Via Appia in 1933.

  • Ukraine will need nearly nine billion US dollars to restore its cultural sites and tourism, according to UNESCO

    Ukraine will need almost nine billion US dollars over the next decade to rebuild its cultural sites and tourism industry after the Russian invasion and war, UNESCO has announced, the Associated Press reported, cited by BTA.

    According to UNESCO estimates, the country’s related cultural and tourism sectors have lost more than US$19 billion in revenue since the war began two years ago. The UN agency said the fighting damaged 341 cultural sites across Ukraine and caused $3.5 billion in damage, including in the capital Kyiv and the cities of Lviv in the west and Odesa in the south.

    “Odessa Cathedral is an example of such a site that has been seriously damaged,” said Chiara Deci Bardeschi, who heads UNESCO’s office in Ukraine. “It is a symbol of the whole community…with deep spiritual and historical significance”.

    In July 2023, UNESCO strongly condemned the “brazen attack by Russian forces” on historic buildings in the center of Odessa, designated last year by the UN agency as an endangered world heritage site. The attack killed at least two people and damaged several sites, including the late 18th-century Savior and Transfiguration Cathedral, which is the city’s main Orthodox church.

    Its original construction was destroyed in 1936, the temple was rebuilt in 1999-2003.

    UNESCO said the deliberate destruction of cultural heritage sites, including religious buildings and artefacts, could be considered a war crime.

    The International Criminal Court brought charges of war crimes, including targeted attacks on historic religious monuments and buildings, in a case involving Mali in 2015.

    In Ukraine, 1,711 objects of cultural infrastructure were damaged or destroyed as a result of Russian aggression, Ukrinform reported in November 2023.

    The cultural infrastructure suffered the greatest losses and damages in Donetsk, Kharkiv, Kherson, Kyiv, Mykolaiv, Luhansk, Zaporozhye regions and the city of Kyiv, reports the Ministry of Culture and Information Policy of Ukraine.

    The largest group of cultural objects that suffered damage or were destroyed were club facilities, which made up 49% of the total number of cultural infrastructure objects that suffered damage.

    A total of 844 clubs, 603 libraries, 133 art schools, 100 museums and galleries, 31 theater buildings, cinemas and philharmonic halls were damaged or destroyed.

    Objects of cultural infrastructure are affected in 262 territorial communities (17.8% of the total number of territorial communities), in particular in the regions of Donetsk (83%), Sumy (53%), Kharkiv (52%), Chernihiv (46% ), Kherson (43%), Luhansk (42%), Mykolaiv (42%), Zaporizhia (36%), Kyiv (26%), Dnipropetrovsk (19%), Zhytomyr (12%), Odessa (8%), Khmelnytskyi (8%), Cherkasy (5%), Lviv (4%), Vinnytsia (3%), Zakarpattia (2%), Poltava (2%) and in the capital Kyiv itself.

    The Ministry notes that as of the end of October 2023, almost the entire territory of Luhansk Oblast and significant parts of the territories of Kherson, Zaporozhye, and Donetsk Oblasts remain temporarily occupied by the Russians. This makes it impossible to calculate the exact number of cultural infrastructure objects affected.

    Illustrative Photo: Old Odessa, postcard

  • The icon of the Ascension of the Lord

    By Prof. Leonid Ouspensky

    The Feast of the Ascension of the Lord is a feast that concludes the work of our salvation. All the events connected with this work – the birth of Christ, His sufferings, death and resurrection – end with His ascension.

    Expressing this meaning of the holiday, on the domes of ancient temples, icon painters often depicted the Ascension, completing their decoration with it.

    At first glance, it seems that the Orthodox icons of this holiday do not fully correspond to their name. A central place in them is given to the group of the Mother of God, the Angels and the Apostles, while the main acting person – the Savior himself, who ascends, is depicted almost always smaller and as if in the background in relation to the other persons. But it is precisely in this external inconsistency that the Orthodox icons of the Ascension correspond to the Holy Scriptures. In fact, when we read in the Gospel and in the Acts of the Apostles the account of the Lord’s Ascension, we are left with the same impression: only a few words are devoted to the very fact of the Ascension, and all the attention in the story of the Evangelists is focused on something completely different – on the last commands of the Savior, which establish and define the influence and importance of the Church in the world, its relationship and relation to God. We find a more detailed description of the Ascension in the book of Acts. This description together with the account of the Gospel of Luke gives us those factual data, albeit incomplete, which lie at the basis of the Orthodox iconography of Christ’s Ascension. The center of gravity in the narration of the Holy Scriptures, and together with it in the Orthodox iconography, falls not on the fact of the Ascension itself, but on the meaning and consequences it has for the Church and the world.

    According to the testimony of the Holy Scriptures (Acts 1:12), the Lord’s Ascension took place on the Olivet, i.e. The Mount of Olives. Therefore, on the icon, the event is depicted either on the very top of the mountain or in a mountainous landscape. To show that the mountain is olive, olive trees are sometimes painted. In accordance with the liturgy of the holiday, the Savior is depicted ascending in glory (“You have ascended in glory, Christ our God …” – from the troparion of the holiday), sometimes – sitting on a richly decorated throne (“When God was carried on the throne of glory…” (Stichira, voice 1 of the praisers).

    His glory is depicted iconographically in the form of a halo – oval or round, consisting of several concentric circles, symbolizing the spiritual sky. This symbolism shows that the ascending Savior is beyond the dimensions of earthly existence, and thus the Ascension acquires a timeless character, which in turn gives a very special meaning to the details, removing them from the narrow framework of the historical event. Halos are supported by Angels (their number varies). They, like the halo, express the Divine glory and majesty*.

    * The role of the Angels here is different and changes depending on the liturgical texts on which the image of the icon is based. So, for example, on some icons, the Angels do not wear a halo, but are turned with a prayerful gesture to the Savior, expressing their amazement at seeing “how human nature rises together with Him” ​​(according to the canon of the feast, canto 3). On other icons they are depicted blowing trumpets, in accordance with the words of the antiphon: “God ascended with a shout, the Lord ascended with the sound of a trumpet” (Antiphon, verse 4, Ps 46:6). Sometimes in the upper part of the icon, on the halo, the doors of the Kingdom of Heaven are depicted, which open before the ascending King of glory, according to the words of Ps. 23, repeated in the liturgy: “Lift up, you upper gates, lift up, eternal gates, and the King of glory shall come in.” All these details depicted on the icon indicate the fulfillment of the prophecy of St. King David about the Ascension of the Lord.

    In the foreground of the icon, the Mother of God is depicted in the center between two groups of Apostles and two Angels. Here the role of the Angels is already different: they are heralds of the Divine providence, as we know from the book Acts of the Holy Apostles (Acts 1:10-11).

    The Mother of God was present at the Ascension of the Lord, which is categorically confirmed by St. Tradition, through liturgical texts, for example, in the Virgin’s Troparion of the ninth canto from the canon of the feast: “Rejoice, Mother of God, Mother of Christ the God, whom you gave birth to and whom, watching together with the Apostles, ascend today, you have glorified”. St. The Mother of God has a very special place in the Ascension icon. Depicted just below the ascending Saviour, She becomes, as it were, the center of the entire composition. Her silhouette, extremely clean, light and clear, stands out sharply against the background of the white robes of the Angels. Her austere, motionless figure contrasts even more strongly with the animatedly gesticulating Apostles on either side of Her. The distinctiveness of Her image is often emphasized by the pedestal on which She stands, which further accentuates Her central place.

    This whole group, together with the Holy Mother of God, represents the Church acquired through the blood of Christ the Savior. Left by Him on the earth on the day of the Ascension, she will, through the promised descent of the Holy Spirit in the upcoming feast of Holy Pentecost, receive the fullness of her being. The connection of the Ascension with Pentecost is revealed in the words of the Savior: “If I do not go away, the Comforter will not come to you; if I go away, I will send Him to you” (John 16:7). This connection between the Ascension of the Savior’s deified human flesh and the coming Pentecost, which is the beginning of the deification of man through the descent of St. The spirit is also emphasized by the whole service of the holiday. The foregrounding in the icon of this group, depicting the Church, is a visual expression of that importance that is assigned to its foundation according to the Holy Scriptures in the last commandments of the Savior.

    That the whole Church is meant here in the person of its representatives, and not only the persons historically present at the Ascension, can be seen from the presence of St. Apostle Paul (to the right of the viewer, next to the Virgin Mary), who historically could not is present at the Ascension together with the other apostles, as well as from the special place of the Mother of God in the icon of the feast. She Who received God into Herself and became the temple of the incarnate Word, here personifies the Church – the body of Christ, the Head of which is the ascended Christ (“And He set Him over all Head of the Church, which is His body, fullness of Him who fulfills all in all” – Eph. 1:22-23).

    That is precisely why, as the personification of the Church, the Holy Mother of God is depicted on the icon immediately below the ascending Christ, and in this way, as if they complement each other.

    The gesture of Her hands corresponds to this meaning of Hers. On some icons, it is a gesture of Oranta – an ancient prayer gesture with raised hands, expressing her role and the role of the Church embodied by her in relation to God, a prayerful appeal to Him, intercession for the world. On other icons, it is a gesture of confession, expressing the role of the Church in relation to the world. In this case, the Holy Mother of God holds her hands in front of her, palms facing forward, as the martyrs-confessors are depicted in the iconography. Her strict immobility seems to want to show the immutability of God-revealed truth, whose guardian is the Church.

    The movements of the entire group from the foreground of the icon, the gestures of the angels and the apostles, the direction of their gazes, the poses – everything is turned upwards, towards the Source of the life of the Church, its Head residing in the heavens. Thus, the image conveys the call with which the Church addresses its children on this day: “Come, let us stand up and lift up our eyes and thoughts, gather our feelings …, stand mentally on the Mount of Olives and look towards The deliverer Who floats on the clouds…” (Ikos on the Kondak, voice six.). With these words, the Church calls the faithful to join the Apostles in their urge to the ascended Christ, as St. Leo the Great says: “Christ’s Ascension is also our ascension, because where the Head is crowned with glory, there is hope for the body as well.” (St. Leo the Great, Word 73 (Word 61. dedicated to the Feast of the Ascension)

    The Savior, ascending, leaving the earthly world with His Body, does not leave it with His Divinity, does not separate from His possession – the Church, which He acquired with His blood – “in no way separates, but abides unyieldingly” with it (Kondak on the holiday). “And behold, I am with you always, even to the end of the world” (Mat.28:20), He says. These words of the Savior refer both to the entire history of the Church and to each individual moment of its existence, as well as to the life of each of its members until the very Second Coming of the Lord. The icon conveys this connection of His with the Church by depicting Him always blessing with the right hand (very rarely He is depicted blessing with both hands), and usually in the left hand holding a Gospel or a scroll – a symbol of teaching and preaching. He ascends while blessing, and not after having blessed His disciples, according to the words of the Gospel: (“And when He had blessed them, He departed from them and ascended into heaven” Luke. 24:50:51) and this blessing of His remains unchangeable upon the Church after His Ascension. By depicting Him blessing, the icon clearly shows us that even after the Ascension He remains a source of blessing to the Apostles, and through them to their successors and all those whom they will bless.

    As we have said, in His left hand the Savior holds a Gospel or a scroll. With this, the icon shows us that the Lord who resides in the heavens leaves behind Him not only a source of blessing, but also of knowledge – gracious knowledge, which He transmits to the Church through the Holy Spirit.

    The inner connection of Christ with the Church is expressed on the icon through the entire construction of the composition, connecting the earthly group with its heavenly Head. Besides what has been said so far, the movements of the whole group, its orientation towards the Saviour, as well as His gesture addressed to it, express their inner relationship and the inseparable common life of the Head with the Body. The two parts of the icon, the upper and the lower, the heavenly and the earthly, are inseparable from each other and without each other lose their meaning.

    But the icon of the Ascension has another meaning. The two Angels, standing behind the Virgin Mary and pointing to the Savior, announce to the Apostles that the ascended Christ will come again in glory: “This Jesus, who ascended from you to heaven, will come in the same way as you saw him go to heaven” (Acts 1:11). In the Acts of the Apostles, as St. John Chrysostom says, “two Angels are mentioned, because indeed there were two Angels, and they were so many, because only the testimony of two is unquestionable (2 Cor.13:1) (St. John Chrysostom , Word on the Acts of the Apostle, par. 3).

    Depicting the fact of the Ascension of the Savior and the teaching of the Church, the icon of the Ascension is at the same time a prophetic icon, an icon of the Second and glorious Coming of Jesus Christ. Therefore, on the icons of the Last Judgment He is depicted as on the icons of the Ascension, but no longer as a Redeemer, but as a Judge of the universe. In this prophetic sense, the group of Apostles with the Mother of God (in the center of the icon) depict the Church awaiting the Second Coming of Christ. And so, as we said, the icon of the Ascension is prophetic, it is an icon of the Second Coming, because it reveals before us a spectacular picture, beginning with the Old Testament and reaching the end of world history.

    We should note that despite the multifaceted content of the Ascension icon, its distinctive feature is the extraordinary tightness and monumentality of its composition.

    The iconography of this holiday, as adopted by the Orthodox Church, is one of the most ancient iconographies of church holidays. The earliest, but already established, images of the Ascension date back to the V-VI century (the Ampoules from Monza and the Ravula Gospel). The iconography of this holiday has remained unchanged to this day, except for some minor details.

    Source: From the book “Theology of the Icon” of Leonid Uspensky, translated from Russian (with abbreviations) [in Russian: Богословие иконы православной церкви / Л.А. Успенский. – Переславль: Изд-во Братства во имя святого князя Александра Невского, 1997. – 656, XVI с. : ил.].

    Illustration: Ascension of Jesus Christ (Acts 1:1-12, Mark 16:19-20, Luke. 24:50-53). One of the most ancient images of the Ascension of Christ, in the Syrian Gospel of the monk Ravbula (Rabbula Gospels) – 6th century, Antioch Church.

  • Aivazovsky dies 57 years after being declared ‘dead’

    Ivan Aivazovsky is known as the best marine artist in the world, although he also painted other landscapes, battle scenes and many portraits. He is defined as a representative of romanticism, although there are many realistic elements in his paintings.

    There are few artists who received such huge recognition during their lifetime as he did. He was named “Academician” of the Russian Navy, de facto State Councilor of Russia, de facto Privy Councilor of Russia, “Professor of Marine Painting” of the Petersburg Academy and its Honorary Member, Member of the Royal Netherlands Academy of Science and Art, Member of Academy of Florence, Honorary Member of the Royal Academy of Fine Arts in Stuttgart, Honorary Member of the Moscow Art Society, etc.

    Aivazovsky is the author of more than 6000 paintings, which makes him a real world record holder among the masters of the brush. The most interesting thing is that the world would not have seen a huge part of the paintings of this incredibly talented artist if he had actually died in 1843, when the ship he was traveling on in the Bay of Biscay was almost sunk by a terrible sea storm. In the commotion surrounding the shipwreck, newspapers ran headlines about Aivazovsky’s death, but he survived and lived for another 57 years after being declared “dead”. He died on May 2, 1900. The inscription is engraved on his sarcophagus:

    “Born mortal, he left an immortal memory of himself.”

    Ivan Aivazovsky was born on July 29, 1817 in the Feodosia region /a port on the Crimean Peninsula/, Russian Empire, in the family of Armenians. He has three sisters and one brother – the historian Gabriel Aivazovsky.

    Young Ivan Aivazovsky received his first parochial education in the local Armenian church. Plays the violin, takes lessons from a local architect. He enrolled to study Landscape at the St. Petersburg Art Academy and while still a student received a silver medal for his paintings. He was assigned as an assistant to the French landscape painter Philippe Tanner, but a conflict arose between the two, after which Aivazovsky enrolled in the Battle Painting class and participated in the exercises of the Baltic Sea Fleet in the Gulf of Finland. From this period is his painting “Spokoystvie”, which won a gold medal and earned him a diploma from the academy, 2 years ahead of schedule. He left for the Crimea, where he met three admirals. With their patronage he was sent to study in Europe. Constantly travels: to Venice, Berlin, Vienna, Rome, Naples, tours Switzerland, Germany, Holland, Great Britain, etc. He was strongly influenced by Italian painting and held several exhibitions in Italy.

    He was invited to exhibit his paintings at the Louvre. Aivazovsky is the only representative of Russia at an international exhibition organized in the famous museum. He continues to travel – to Portugal, Spain, Malta. It was during one of these trips that he was shipwrecked and pronounced “dead”. After his “resurrection”, he was briefly in Paris and Amsterdam, and then returned to Russia.

    The most fruitful period of his life begins. He became the official artist of the Russian Navy and initially painted commissioned views of Russian port cities. He also undertook a journey through the Greek islands of the Aegean Sea. After his return, he decided to settle in his hometown and build his own studio. He continues to paint marine paintings and is already very famous. He was raised by the Russian imperial court to the rank of aristocrat. In the meantime, he married an English governess, from whom he had four daughters, but in 1877 he divorced his wife and his second marriage was with an Armenian woman.

    Creative success accompanied Aivazovsky throughout his life, but his real rise began sometime after the Crimean War, when he began to paint pictures of battle scenes. His works were exhibited during the Ottoman siege of Sevastopol. In the 1960s, he painted paintings inspired by Greek nationalism and the unification of Italy. For the first time, he went to the Caucasus, where he painted mountain landscapes. The time of his great international recognition is coming.

    The Academy of Fine Arts in Florence asked the artist to create a self-portrait to be exhibited in the iconic Uffizi Gallery. The Turkish Sultan Abdul Aziz awarded him the “Osmaniye” order, which Aivazovsky later – in 1894 returned to him, together with other Turkish medals, through the Turkish consul in Feodosia, because of the Armenian massacres. Broken to the bottom of his soul by the genocide of his people, he also sends a message to the Sultan to “throw his orders and medals into the sea”. Aivazovsky painted several paintings about these tragic events. One of them is the “Massacre of Armenians near Trabazon”.

    In 1880, Aivazovsky opened a gallery in his home. At the time, it was the third in Russia, after the Hermitage and the Tretyakov Gallery. The artist continues to travel around the world, on invitations to exhibitions in Italy, France, Great Britain. He celebrated his 50-year creative activity with an exhibition in London.

    Two years before he died, a famous meeting took place between Aivazovsky and another great Russian genius – Chekhov. How the great master of the pen described the great master of the brush, in one letter: “In him are combined a general, a priest, an artist, an Armenian, a local old peasant and Othello”. Indeed, an extremely accurate description for such a multifaceted personality as Aivazovsky. In the last years of his life, the artist opened an art school in Feodosia, provided water for the city from his own estate, built a historical museum, made the construction of a commercial port and a connection with the railway network of the country.

    Of the nearly 6,000 paintings painted by Aivazovsky, most of them are related to the sea. It is curious that he painted his seascapes from memory and far from the shore. His ability to convey the movement of sea waves without observing them closely is astounding. Moreover, Aivazovsky, in his more mature period, painted his seascapes on large-scale canvases, on which the effect is even more spectacular. With his second wife, Aivazovsky took a trip to America – to New York and Washington. He painted Niagara Falls.

    He is admired by the best artists in the world. Ivan Aivazovsky died on May 2, 1900. His dying wish was to be buried in the yard of an Armenian church. His sarcophagus, made of white marble, was designed by the great Italian sculptor Bioggioli.

    Photo: Aivazovsky’s grave