Many of these artifacts were later recovered.
Bogdanos Matthew, “The Casualties of War: The Truth about the Iraq Museum,” American Journal of Archaeology
109 (2005): 477–526
The Islamic State's depredations in Palmyra took place in 2015.
Watenpaugh Heghnar, “Cultural Heritage and the Arab Spring: War over Culture, Culture of War, and Culture War,” International Journal of Islamic Architecture
5 (2016): 245–63, with further references.
Scott Reyburn, “What the Panama Papers Reveal about the Art Market,” The New York Times, 11 April 2016, accessed 6 June 2017, https://nyti.ms/1Wo6d6L.
The 2016 report of the Special Rapporteur in the field of cultural rights, Karima Bennoune, highlights the international legal frameworks regarding the intentional destruction of culture: UN Human Rights Council, “Report of the Special Rapporteur in the Field of Cultural Rights,” 3 February 2016, A/HRC/31/59, accessed 8 June 2017, http://www.refworld.org/docid/56f174dd4.html.
Karima Bennoune highlighted the plight of defenders of cultural heritage who have been targeted, and argued that “defenders of cultural heritage should be recognized as cultural rights defenders and therefore as human rights defenders and that they should be afforded the rights and protections that status entails.” Ibid., p. 17, section 75.
Bahrani Zainab, Çelik Zeynep, and Eldem Edhem, eds., Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753–1914 (Istanbul: SALT, 2011).
I refer here to the current art historical focus on the materiality of the object, known as the “pictorial” or “iconic” turn. See, among others,
Moxey Keith, “Visual Studies and the Iconic Turn,” Journal of Visual Culture
7 (2008): 131–46;
Mitchell W. J. T., What Do Pictures Want? The Lives and Loves of Images (Chicago: University of Chicago Press, 2005); and
Osborne Robin and Tanner Jeremy, eds., Art's Agency and Art History (Malden, Mass.: Wiley-Blackwell, 2007).
Watenpaugh Heghnar Zeitlian, The Missing Pages: Art, Heritage and the Armenian Genocide (Stanford, Calif.: Stanford University Press, forthcoming).
See, among others,
Der Nersessian Sirarpie, Miniature Painting in the Armenian Kingdom of Cilicia from the Twelfth to the Fourteenth Century, ed. Agémian Sylvia (Washington, D.C.: Dumbarton Oaks Research Library and Collection, 1993), 1:51–76;
Evans Helen C., “Armenian Art Looks West: Toros Ṛoslin's Zeytun Gospels,” in Treasures in Heaven: Armenian Art, Religion, and Society, ed. Matthews Thomas F. and Wieck Roger S. (New York: Pierpont Morgan Library, 1998), 103–14.
Western Prelacy of the Armenian Apostolic Church of America v. The J. Paul Getty Museum, No. BC 438824 (Cal. Super. Ct. 2011).
J. Paul Getty Museum and the Western Prelacy of the Armenian Apostolic Church of America (21 September 2015), J. Paul Getty Museum and the Western Prelacy of the Armenian Apostolic Church of America Announce Agreement in Armenian Art Restitution Case [press release].
Harutiwn Ter Ghazarian is describing the night of 10 February 1920, known later as “the Battle of Marash,” in his “Letter to Archbishop A. Siwrmeian, 1 August 1936,” in
Siwrmeian Artawazd, Mayr Tsutsak hayeren tseragrats S. Karasun Mankunk ekeghetsvoy Halepi, vol. 2, Mayr Tsutsak hayeren tseragrats Halepi ew Antiliasi u masnaworats (Aleppo: Tparan A. Der-Sahakian, 1936), 137
The quote is excerpted from a colophon, dated 28 February 1923, which then-Bishop Babken Kiwleserian (1868–1936) added to a medieval manuscript in the Church of the Forty Martyrs in Aleppo. Published in
Siwrmeian Artawazd, Nkaragir Oshin tagavori dzeragir zhamagrkin, 1319 (Antilias: Tparan Tprevanuts katoghikosutean Kilikioy, 1933), 102
Hovsepian Garegin, Niwter ew usumnasirutiwnner hay aruesti ew mshakoyti patmutean, vol. 2 (New York: n.p., 1943), i.