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Berlin exhibition shows real-life 'Indiana Jones' artefacts

The Local · 28 Jan 2011, 10:02

Published: 28 Jan 2011 10:02 GMT+01:00

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The story kicks off nearly 100 years ago when Max von Oppenheim, the son of a rich German banker, fell in love with the Middle East as a diplomat keeping an eye on British empire-building.

He stumbled across the ruined palace of an Aramaean king, buried in the desert, as German engineers toiled on the nearby Berlin to Baghdad railway line along what is today the Turkish-Syrian border.

After two digs, from 1911-1913 and 1927-1929, Oppenheim brought back many of his finds to Berlin where they were housed in their own museum.

Click here for a gallery of the exhibition.

Some statues were damaged during fighting between French and Turkish troops at the end of World War I. One goddess-like figure had her pleats and nose chopped off with an axe.

But much worse was to come.

The museum was bombed in November 1943 and all artefacts made of wood and gypsum were burnt to cinder. Only the basalt rock statues survived the inferno, but cold water used by firemen fractured them nearly beyond repair.

"The whole museum reached temperatures of over 1,000 degrees Celsius," said Kirsten Drüppel, an expert at Berlin Technical University's department of mineralogy involved in the restoration.

"And then it was suddenly cooled down with water and this put severe stress on the stones, which just exploded."

The fragments were recovered from the ash, but then disappeared for more than 50 years into the dark cellars of a museum in communist East Berlin, half-forgotten until the collapse of the Berlin Wall in 1989.

In 2001 the painstaking work of restoration began. It then took nine years of detective work to fit together most of the 27,000 pieces of this giant 3-D puzzle, and breathe new life into some 60 priceless artefacts.

"Some 90 percent of what could be saved has been restored," Beate Salje, head of ancient Near East section at the Pergamon museum, where the treasures go on display, told a press conference.

Some pieces were as small as a fingernail, others weighed one and a half tonnes. One of the statues, a goddess, was broken into 1,800 pieces. One of the restored lions is made of 900 fragments.

"The work of restoration was never wearisome or a pain. It's the sort of work that requires a lot of effort, but it's what you dream of doing when you are an archaeologist," said curator Lutz Martin.

Story continues below…

The exhibition, "Rescued Gods of the Palace of Tell Halaf," is open to the public until August 14. The Pergamon on Berlin's central Museum Island is expected, at some future date, to be made its permanent home.

In the meantime, the exhibition might tour the United States, Britain, and France, said Salje.

Von Oppenheim died a broken man in 1946, but "he always believed it might be possible to restore his statues," said Michael Eissenhauer, director general of Berlin's state museums.

"It's a miracle," he said. "For years, no one could imagine such an exhibition would ever be possible."


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Your comments about this article

10:31 January 28, 2011 by HANNIBAL-BARCA
Yet another romanticized story fawning of the innocence of Western Imperialism.
16:15 January 28, 2011 by OkieinBerlin
Hannibal, I'm tempted to agree, that maybe museum collections like the Pergamon's are themselves exhibits representing the good old days of Shameless Imperialism, when cultural patrimonies from around the world were fair game for European "collectors"... Maybe this new exhibit might be more accurately labeled something like "Looted Treasures from Tell Halaf."
17:08 January 28, 2011 by catjones
Restorations do not do justice to the artistry...in fact, the damage detracts. Replicas would have offered a more realistic representation of the artwork. Tear up the Mona Lisa into shreds and then glue back together every third piece or a faithful reproduction?
07:42 January 29, 2011 by wood artist
Sorry, catjones, but I must disagree.

While it is true that replicas are interesting, it is simply not the same as looking at the original. If the idea is to study history, then we can't simply say part of the history of "this piece" never happened. Viewing the Sphinx, without the damage of the ages, wouldn't be the same. Somewhere along the way, it did lose part of its nose, and that's history.

Every antiquity has some "wear and tear." Should we "fix them all" on the basis that they'd look better?

Yes, the damage on these pieces makes them look different, but if you want to see what the original artists created, you need to see the original. A copy is just...a copy.

08:38 January 29, 2011 by catjones
@wood...purity can be taken too far. I would prefer to look at a reproduction than just a few fragments. It's not a question of making the artwork look 'better', it's making the artwork look like 'art'.
15:50 January 29, 2011 by bartschaff
@ wood artist & catjones, I guess you're just emphasizing different aspects: art and history. As a piece of art simply to be admired, a perfect reproduction might be a much better option, but as a historical object, it's pretty much only the original that counts. (Though is this case the damage is such that one might have better chance of learning something new from the items' old pictures than from the restorations.)
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