AI – ‘The museum of ancient oriental art in Paris is called the Musée Guimet (National Museum of Asian Arts). It houses one of the largest collections of Asian art in the Western world, with items ranging from Buddhist statues and Chinese porcelain to samurai armor and Khmer treasures.  

Key details about the Musée Guimet:

• Full Name: Musée national des arts asiatiques-Guimet. 
• Focus: Asian art and culture, with vast collections from China, Japan, India, Southeast Asia, and the Himalayan world. 
• Location: Near Place d’Iéna and Trocadéro in Paris. 
• Significance: It is a leading museum in Europe for the depth and breadth of its Asian art collection.’ 

The Musée Guimet library, officially the Research Library, is a specialized library focused on ancient art and archaeology from East and Far East Asia, housing over 100,000 volumes and 1,500 periodical reviews. Access to the reading room is free for consultation of published works, though a prior appointment is required for access to the precious rare book collection and archives.  

Key aspects of the library

• Collections:

The library contains books, reviews, manuscripts, and photographic archives related to Asian art and archaeology. It boasts a rich collection of historical books, Japanese illustrated books from the Edo period, and Chinese and Korean sutras. 

• Specialization:

It specializes in the study of ancient art and archaeology from East and Far East Asia. 

• Access:
  • Reading Room: Free access is granted upon signing the attendance register at the entrance. 
  • Precious works and Archives: Consultation of the rare book collection and archives requires a prior appointment. 
• Research Focus:

The library serves as a core center for research, facilitating collaborations with scholars and institutions worldwide, particularly in China, Japan, and Korea. 

• Historical Significance:

Founded in 1889, the library was a foundational part of the museum from its inception and its historic setting is one of the last remaining parts of the original museum building. 

Location

The Research Library is located within the Musée Guimet (National Museum of Asian Arts) in Paris. You can visit its official website at Musée Guimet for more information. 

The Musée du Quai Branly – Jacques Chirac is a prominent museum in Paris dedicated to the indigenous arts and civilizations of Africa, Asia, Oceania, and the Americas. Located on the banks of the River Seine, near the Eiffel Tower, the museum is known for its distinctive architecture and lush, natural garden. 

Key features of the museum:

• Collections: The museum’s extensive collection, featuring nearly 300,000 works, explores the rich artistic heritage of non-Western cultures. The permanent exhibition area is divided into four geographical zones: Africa, Asia, Oceania, and the Americas.
• Architecture and gardens: Designed by French architect Jean Nouvel, the building is known for its innovative features, including large glass panels and tall pillars that resemble trees. The wild garden, created by Gilles Clément, contributes to the museum’s unique and peaceful atmosphere.
• Exhibitions and events: In addition to its permanent collection, the museum hosts temporary exhibitions, performances, lectures, workshops, and screenings. It also has a cinema, a media library, and a reading room.’
• Family-friendly: The museum offers a variety of activities and workshops for children and families, making it an engaging and educational experience for all ages.
• Facilities: Visitors can enjoy a meal at Café Jacques, which offers a terrace with a view of the Eiffel Tower. 

Practical information:

• Address: 37 Quai Jacques Chirac, 75007 Paris, France.
• Opening hours: The museum is typically open Tuesday to Sunday. It is closed on Mondays. Specific hours vary, so it’s a good idea to check their official website before you visit.’

The ancient Hopi Indians of Arizona, who regard themselves as the first inhabitants of America, and are known for their peaceful nature, have a rich history and culture that dates back thousands of years.

‘Hopi’ means ‘the Peaceful People’ or ‘Peaceful Ones’ in the Hopi language, and the Hopi people are known for their adherence to a way of life that emphasizes harmony with nature and reverence for all things, according to the teachings of Maasaw, the Earth’s Creator. 

This deeply rooted cultural concept is central to their identity as one of the Pueblo peoples and influences their spiritual and ethical worldview.

The Hopi are thought to have migrated north out of Mexico around 500 B.C.

They have the longest authenticated history of occupation of a single area by any Native American tribe in the United States, and have always lived in the Four Corners area of the United States.

The ‘Four Corners’ area is located in the Southwestern quadrant of the United States, and is the only point in the country where the borders of four states: Arizona, Colorado, New Mexico, and Utah, all meet.

‘Why are Arizona, Colorado, New Mexico, and Utah sacred to the indigenous Indian peoples?’

AI – ‘The region comprising Arizona, Colorado, New Mexico, and Utah is sacred to Indigenous peoples for its role as a creation origin point, its connection to sacred figures like Changing Woman, and the presence of powerful sacred sites, such as the Navajo Nation’s Four Sacred Mountains, Monument Valley, and the Ancestral Puebloan Chaco Canyon. These lands are seen as a living entity, holding spiritual power and serving as ancestral homelands, important for maintaining harmony and connection to the spirit world, according to the Southern Ute Indian Tribe. 

Creation and Ancestry

• Origin Sites:Many tribes view the Southwest as a holy ground, with locations like the Confluence of the Little Colorado River in the Grand Canyon considered the spot from which people first emerged into this world. 
• Ancestral Lands:For the Navajo, the Four Sacred Mountains (including Mount Taylor in New Mexico and the San Francisco Peaks in Arizona) define the boundaries of their traditional lands, which they have inhabited since the beginning of time. 

Sacred Figures and Spiritual Practices

• Mythological Beings:The Navajo associate Pedernal Peak with the emergence of the deity Changing Woman, and Canyon de Chelly with Spider Woman. 
• Visions and Communication:High mountain places and spiritual landscapes are visited for visions and communication with spirits, fostering a deep awareness of the sacred. 

Living Landscape and Balance 

• Living Entity:The land itself is perceived as a living entity, imbued with power and energy, a spiritual landscape crucial for maintaining balance and harmony in the universe.
• Pilgrimages:Indigenous people still make long journeys on foot to sacred places, such as the Confluence, to honor traditions and maintain balance.

Examples of Sacred Sites

• Monument Valley (Arizona/Utah):Considered sacred by the Navajo Nation, this region of towering sandstone buttes holds deep spiritual significance. 
• Chaco Canyon (New Mexico):Ancestral Puebloan communities built complex structures and roads, some aligned with celestial movements, showing deep reverence for the land and cosmos.’ 

‘What Creation Story is encoded in the Art of the Hopi?’

AI – ‘The creation story encoded in Hopi art centers on a series of four worlds, where in the first three, humanity’s corruption, greed, and failure to live in harmony with the earth led to their destruction by natural forces, prompting Spider Grandmother and the sun spirit Tawa to guide them to the next world through a hidden opening in the earth called the sipapu. The art depicts these journeys and the subsequent emergence into the current, fourth world, along with themes of the sacred covenant between the Hopi and the earth caretaker Maasaw to be stewards of the land.
 

Key Elements of the Creation Story in Hopi Art

• Tawa and Spider Grandmother:

The sun god Tawa and Spider Grandmother (Koyingwuti, the Earth Goddess) are central figures who create the early worlds and guide humanity. 

• The Four Worlds:

The story involves the progression through four worlds. The art can depict the characteristics of these worlds and their destruction. 

• The Sipapu:

This hidden opening in the earth is a recurring image in Hopi art and symbolizes the passage from one world to the next, and its location is sometimes represented as being in the Grand Canyon. 

• Corruption and Harmony:

The destruction of the first three worlds was due to humanity’s corruption, war, and failure to live in harmony with the natural world. 

• Maasaw and the Sacred Covenant:

After emerging into the current (Fourth) world, the Hopi encountered Maasaw, the caretaker of the earth, and promised to be stewards of the land in exchange for a home. 

• Art as a Visual Narrative:

The Hopi use their art, particularly pottery and weaving, to visually represent these legends, preserving them for future generations. Themes include spirals to mark settlements, sacred symbols, and depictions of the spiritual and natural elements of the stories’. 

‘What Prophesy is encoded in the Art of the Hopi?’

AI – ‘Hopi art, particularly symbols like the Blue Star Kachina and the labyrinth, encodes prophecy by visually representing the end of the Fourth World through the themes of a coming purification and a spiritual conflict, followed by the potential rebirth of the world. This iconography serves as a visual record of warnings, such as those about technological destruction and an imbalance in nature, and offers a path toward salvation for those who adhere to Hopi teachings.  

Symbols of the Prophecy

• The Blue Star Kachina:

This celestial sign is a prominent symbol in Hopi art, foretelling the end of the Fourth World and the onset of the Day of Purification. 

• The Labyrinth:

An orderly, balanced labyrinth often contrasts with chaotic imagery in Hopi art, symbolizing a choice between chaos and harmony, a bridge between the paths to destruction and salvation. 

• Spider Woman’s Web:

This symbol represents the end of the world when it appears as a widespread, visible web across the landscape. 

• The “Gourd of Ashes”:

This symbol in Hopi art is interpreted as a warning against the destructive power of atomic weapons, a potential outcome of the spiritual conflict. 

The Prophecy’s Narrative

1. 1. A Time of Crisis:

The prophecies speak of a coming global crisis and the beginning of a spiritual conflict that could lead to World War III, a spiritual conflict against material matters. 

1. 2. The Day of Purification:

This event marks the culmination of the prophecies, signaling the end of the current world and the destruction of the Fourth World. 

1. 3. The True White Brother:

A spiritual figure known as the True White Brother is prophesied to come to earth to find those who still follow the ancient Hopi way of life. 

1. 4. A Choice Between Destruction and Rebirth:

The fate of the world hangs on the True White Brother’s success in finding uncorrupted people, which could lead to a world created anew, or failure, resulting in complete destruction’ 

Note that the spider icon in Hopi art and the spider geoglyph in the Nazca Lines are not the same; they belong to entirely different cultures and geographical regions with distinct artistic styles and cultural meanings. Hopi spider figures are part of the mythology of various Southwestern Native American tribes, often associated with creation and teaching survival skills, whereas the Nazca spider is a large geoglyph in ancient Peru believed to have been connected to water, fertility, and religious or astronomical purposes.

‘What are the ancient teachings of the Hopi?’

AI – ‘Hopi ancient teachings focus on living in balance and harmony with the Earth and each other, emphasizing interconnectedness and spiritual responsibility. Core teachings include the understanding of successive “Worlds of Life,” the arrival of a purifying Great Purification heralded by signs like the Blue Star (Blue Kachina), and the importance of maintaining ancient traditions, spiritual awakening, and the need to correct mistakes of the past to ensure a harmonious future.  

The Cycle of Worlds 

• Creation Myth:

The Hopi believe the current world (the Fourth World) is the latest in a series of worlds that have been destroyed due to human misdeeds, bringing subsequent chastisements from the creator.

• The Fourth World:

This world is threatened with destruction by fire if humans fail to follow the creator’s plans and forsake their moral and spiritual ways.

The Prophecy of the Great Purification

• The Blue Star:

A significant prophecy, sometimes called the Blue Star or Blue Kachina Prophecy, foretells a celestial event signaling the end of the Fourth World and the beginning of a new one. 

• Signs of the Times:

The signs leading up to this purification are said to include environmental degradation, loss of moral values, global conflicts, and a growing disconnect from nature, all reflecting a spiritual crisis in humanity. 

• The Fifth World:

This world will be a renewal and a chance for humanity to live in a more balanced and harmonious way. 

Key Teachings for a Sustainable Future

• Interconnectedness:

The Hopi teach that humans are part of nature, not separate from it. 

• Balance and Harmony:

Living in a state of balance with the Earth, its creatures, and fellow human beings is central to their philosophy. 

• Spiritual Awakening:

There is a call for a global awakening of hearts and minds, requiring people to embrace their true sacredness and heal the world. 

• Wisdom, Compassion, and Respect:

These are essential values for navigating the current times and ushering in a new era of peace and sustainability. 

• Preserving Traditions:

The Hopi elders stress the importance of remembering and practicing their ancient ways to survive and help heal the wider world.’ 

‘Who built and used Pueblo Bonito?’

AI – ‘Pueblo Bonito was built and used by the Ancestral Puebloans (also referred to as the Anasazi), who occupied the structure in Chaco Canyon from approximately AD 828 to 1126. The large D-shaped structure served as a center for the Chacoan world, which was a sphere of influence that covered a vast area of the present-day Southwest.  

Construction and Use

• Construction:

The great house was built in stages over several centuries, with construction beginning around the mid-9th century CE. 

• Purpose:

Pueblo Bonito served multiple purposes, including:

• Settlement: It housed hundreds of families. 
• Ceremony: It contained numerous kivas, which were dedicated rooms for rituals and meetings. 
• Administration and Storage: Some rooms were used as administrative halls and for storage. 
• Gathering: The structure provided a central place for gatherings. 

Cultural Significance 

• Pueblo Bonito was a central hub of the Chacoan Culture, uniting many diverse peoples in its sphere of influence for over 300 years.
• It is the most researched and celebrated cultural site within Chaco Culture National Historical Park.’

‘Are there any astronomical alignments at Pueblo Bonito?’

AI – ‘Yes, Pueblo Bonito exhibits significant astronomical alignments, including a central North-South wall and a South-facing wall that aligns with the cardinal East-West direction, which would have been used to track the Sun’s cycle at noon and on the equinoxes. The building also features specialized corner windows and doorways, like the southeast corner window, which align with the Sun’s position on the winter solstice to cast a patch of light into a room. These features suggest Pueblo Bonito served as a monumental architectural calendar for tracking celestial events.  

Solar Alignments

• North-South Mid-Wall:

A prominent central wall in Pueblo Bonito is precisely aligned with true North. At noon, this wall casts no shadow, indicating the moment the Sun is at its highest point for the day. 

• East-West Wall:

The building’s straight, southern exterior wall is aligned with the cardinal East-West line. The Sun rises and sets at the ends of this wall on the spring and autumn equinoxes. 

• Solstice Alignment:

A specific southeast-facing corner doorway is designed so that the rising Sun on the winter solstice shines through it to cast a square patch of sunlight onto the opposite wall inside the room. 

Other Astronomical Aspects

• Kivas:

The circular kivas (ceremonial chambers) within Pueblo Bonito may have also had astronomical significance, with their design potentially reflecting the circularity of the sky overhead. 

• Chaco Complex:

These solar alignments are not isolated to Pueblo Bonito but are also present in other central structures within the Chaco Canyon complex, forming a coordinated solar pattern among these great houses.’

‘What is sacred about Chaco Canyon?’ 

AI – ‘Chaco Canyon is sacred to the Pueblo and Hopi peoples because it is an ancestral homeland, a central gathering place for ceremonies, and a site of deep spiritual and cosmic importance, marked by monumental architecture, ritual roads, and celestial alignments. The site served as a major hub for the ancestral Puebloan culture between the 9th and 12th centuries, with its extensive road system, unique structures like kivas, and astronomical significance solidifying its spiritual connection to these modern-day Indigenous groups.  

Ancestral Homeland and Spiritual Connection

• Ancestral Ties:

Chaco Canyon is considered a sacred ancestral homeland by the Hopi and Pueblo people. 

• Oral Traditions:

The Hopi and Pueblo peoples maintain oral accounts of their historical migration from Chaco and their enduring spiritual relationship with the land. 

• Gathering Place:

It was a vital gathering place where many peoples and clans converged to share ceremonies, traditions, and knowledge. 

Cosmic Significance and Ritual

• Celestial Alignments:

The site and its associated roads were built with a deep understanding of astronomy, with features aligning with significant celestial events like the winter and summer solstices. 

• Sacred Roads:

Researchers have found that the roads, some aligned with celestial events and featuring ritualistic structures like ‘horseshoes,’ were built for spiritual purposes and ceremonies, not just transportation. 

• Ritual Hub:

The entire landscape was organized to connect sacred natural features with astronomical wonders, reflecting a complex metaphysical belief system. 

Cultural and Historical Significance

• Center of Civilization:

During its peak from the 9th to the 11th centuries, Chaco Canyon was the center of the ancestral Puebloan civilization. 

• Monumental Architecture:

It is distinguished by its large, multi-story apartment-like structures (pueblos), ceremonial kivas, and plazas, which were unlike anything built before or since in the region. 

• A UNESCO World Heritage Site:

Its immense historical and cultural importance led to its designation as a UNESCO World Heritage Site in 1987.’ 

‘Who were the Anasazi?’

AI – ‘The Anasazi were an ancient Native American people who lived in the Four Corners region of the American Southwest from about 200 BCE to 1300 CE, known for their sophisticated architecture, including pueblos and cliff dwellings, and agriculture. The term “Anasazi” is now considered controversial; Ancestral Puebloans is the preferred term for these people, reflecting their descendants and the rejection of the Navajo word “ancient enemies” by modern Pueblo communities. 

Key Characteristics & Culture

• Architecture:

They built impressive structures, including pit houses, pueblos, and elaborate cliff dwellings, showcasing significant architectural skill. 

• Agriculture:

They were adept farmers, developing dry farming and ditch irrigation to cultivate crops like maize in the arid Southwest. 

• Religion:

Their religion was centered on harmony with nature and featured rituals in subterranean ceremonial rooms called kivas. 

• Legacy:

The Anasazi are considered the ancestors of modern Pueblo people, who continue to preserve much of their traditional culture. 

The Name “Anasazi”

• The term “Anasazi” comes from the Navajo word for “ancient enemy,” which reflects its use by early U.S. archaeologists but is considered an offensive exonym by many Pueblo people. 
• For this reason, Ancestral Puebloans is now the preferred and official term used by scholars and the National Park Service to refer to these people and their descendants. 

Decline and Abandonment

• Around 1300 CE, the Anasazi population experienced a mass exodus from their traditional homes. 
• Archaeological evidence, including tree-ring records, suggests a prolonged drought and other environmental pressures likely caused them to abandon their magnificent stone villages.’ 

The existence of this dimension singularly demonstrates why Mediation is always appropriate.

‘… [T]he “human dimension” of cultural heritage – i.e. the special feelings that items of cultural heritage evoke in individuals and peoples because of their symbolic, emotional, religious, and historical qualities – can be overlooked in the course of the adjudicative process. This human dimension is at stake in all cases, whether involving artworks taken by force or deceit or not … [C]ultural objects have no intrinsic value, in the sense that they cannot be defined solely by their physical characteristics. The values ascribed to them- be they historic, scientific, educational, aesthetic, or financial depend on the meanings placed upon them by individuals and communities. It is precisely because of these meanings that works of art and antiquities attract the interest of museum-goers, institutions, States, and other stakeholders. For some, cultural objects are repositories of information relating to human history. Others regard them as possessing or expressing religious or spiritual qualities. For others, cultural objects are chattels that can be treated as any other commodity in financial terms. Heritage’s value is therefore relational. This explains why disputes involving cultural objects are both more likely to arise and more difficult to resolve than in the case of mundane goods.’

(The Settlement of International Cultural Heritage Disputes by Alessandro Chechi (2014), p.2.)

AI – ‘Yes, abundant fossils of trees and plants, including abundant fossilized wood and leaves, have been discovered in Antarctica, providing evidence of extensive ancient forests and a much warmer climate in the distant past. These plant fossils offer insights into the continent’s prehistoric ecosystems, evolutionary changes, and past climates, which were vastly different from the icy desert Antarctica is today. Key discoveries and evidence:

• Fossil leaves and wood:These are the most common plant fossils found and indicate the existence of widespread forests in earlier geological periods, even near the South Pole. 
• Sedimentary cores:Scientists have drilled into the seabed and found fossil roots, pollen, spores, and remnants of flowering plants, which point to temperate rainforests in West Antarctica about 90 million years ago. 
• Fossil forests:Researchers have found and studied entire fossil forests from the Permian Period (around 280 million years ago), which are unique in their ability to have survived the extreme conditions of constant light and darkness at the poles. 
• Tree rings:Examining the annual rings in fossilized logs, like those found by Robert Falcon Scott in 1912, provides information about the trees’ growth and the past climate. 

What the fossils tell us:

• Ancient climates:The presence of these fossils indicates that Antarctica was once a temperate and much warmer place than it is today. 
• Adaptation to polar conditions:Scientists study these fossils to understand how plants adapted to the long periods of daylight and darkness at the poles. 
• Continental movements:The distribution of these plant fossils contributes to our understanding of how the continents have moved over millions of years.’

AI – ‘Yes, similar geometric patterns, particularly the meander or Greek key, appear in both ancient Roman mosaics and the design arrangement of megalithic structures, sometimes linked to sacred geometry and shared cosmological ideas or practical construction methods. For example, a simple algorithm could construct intricate meander patterns found in both Roman pavement mosaics and ancient art from other cultures, such as Angola and South India. Some scholars suggest that the use of these patterns in both art forms reflects a shared ancient understanding of the cosmos, while others point to the mobility of artisans and the circulation of pattern books as reasons for their prevalence.
 

Mosaics and Patterns

• Geometric Patterns:

Ancient mosaics, particularly Greek and Roman ones, often featured geometric designs like the meander (Greek key), the guilloché (interlacing strands), and the swastika. 

• Symbolic Meaning:

Geometric patterns in mosaics could be purely decorative or hold symbolic or spiritual meaning, sometimes conveying cosmological ideas. 

• Diffusion:

The recurring nature of these designs in the Roman world can be attributed to the movement of skilled craftsmen and the use of pattern books, which helped spread designs widely. 

Megalithic Structures and Patterns

• Sacred Geometry:

Some theories propose that megalithic structures incorporate patterns based on sacred geometry, where certain proportions and forms are given cosmic or spiritual significance. 

• Cross-Cultural Similarities:

The recurrence of specific geometric patterns in megalithic sites across different cultures suggests a potential shared understanding of fundamental principles or a common, albeit rudimentary, algorithmic approach to their creation. 

Connecting Mosaics and Megaliths 

• Shared Motifs:

The recurring geometric patterns found in mosaics can have parallels with the design arrangement and masonry of some megalithic structures, suggesting a common thread in ancient design principles.

• Practicality and Spirituality:

The same patterns might have emerged from both practical (like using simple construction methods) and spiritual motivations (like encoding cosmological ideas or a sense of order into monumental architecture).’

AI – ‘Yes, it’s widely believed by some that messages are encoded in the design and masonry of ancient megalithic structures, particularly through the principles of sacred geometry. This system of geometry, where proportions and forms are given spiritual or cosmic significance, was used by many ancient cultures to express cosmological ideas. While not all cultures universally shared these principles, the recurrence of certain patterns across diverse civilizations suggests a shared understanding of the cosmos and a desire to encode these ideas into their monumental architecture. 

How messages were encoded:

• Sacred Geometry:

Specific geometric ratios and shapes were believed to possess intrinsic spiritual or cosmic significance. These were incorporated into architectural designs to convey profound spiritual or cosmological meanings. 

• Cosmological and Astronomical Alignment:

The arrangement of stones in structures like stone circles was likely for ritual or astronomical purposes, possibly acting as a form of “map to the stars” to help understand the cosmos. 

• Material and Craftsmanship:

The sheer scale and precise craftsmanship of megalithic structures also communicate messages about the ingenuity and engineering prowess of ancient builders. The intricate and monumental nature of the masonry itself can be seen as a testament to their advanced techniques, sparking curiosity about their knowledge and capabilities, as noted in studies by the Taylor & Francis Online and Facebook posts about Çavuştepe. 

Examples of encoded meaning:

• Mandalas and Pyramids:

In India, the Himalayas, and ancient Egypt, the design principles of sacred geometry were applied to designs and pyramids to convey spiritual and cosmological ideas, according to wealthplanning.tv. 

• Shared Cultural Significance:

Similarities in the architectural features of megalithic structures found in geographically separated regions, like India and the Caucasus, suggest a shared cultural significance or parallel development of ideas and practices, according to a Facebook post.’

AI – ‘Yes, ancient mosaics often contain encoded messages through inscriptions, symbolism, religious narratives, and political statements, functioning as a form of visual language that communicates beliefs, historical events, and social values. While some messages are explicit, such as the names of the artists or patrons, others are hidden within the imagery, using symbols or apotropaic (evil-warding) designs to convey complex ideas or beliefs to those who understood the cultural context.
 

Types of Encoded Messages

• Inscriptions:

Many mosaics include direct inscriptions with the names of the patrons, the artists, or even descriptions of the work’s creation. 

• Symbolism and Narrative:

Mosaics frequently depict scenes from myths, religious texts, or historical events, which served as visual storytelling to convey moral lessons and religious beliefs. 

• Social and Political Messages:

Depictions of rulers, elite individuals, or public events could convey power, social status, and reinforce political agendas. 

• Apotropaic Functions:

Mosaics sometimes included images or symbols designed to ward off evil spirits or the “evil eye,” such as depictions of an eye pierced by a lance or mythological figures with prominent phalli. 

Examples of Encoded Messages

• Artist Signatures:

A mosaic from Thebes (6th century AD) named Demetrios as the designer and Epiphanes as the artist who executed it. 

• Patronal Pride:

A third-century AD mosaic in Vlisippara, Tunisia, showcased the creator Sabinianus’s pride in his work, despite the poor quality. 

• Religious Beliefs:

Byzantine mosaics often featured biblical stories and figures to reinforce Christian faith. 

• Power and Wealth:

The Great Hunt mosaic at Villa Romana del Casale in Sicily illustrates the power and wealth of the Roman elite through its depiction of exotic beast hunts. 

How Messages Are Decoded

• Visual Analysis:

Analyzing the visual elements, symbols, and narratives within the mosaics provides insights into the culture that created them. 

• Contextual Understanding:

The context of the mosaic, such as the location of the villa or the religious building, helps to interpret its intended meaning. 

• Cultural Knowledge:

Understanding the specific cultural, religious, and mythological references used in the mosaic is essential for decoding its deeper meaning.’ 

AI – ‘Egypt features prominent structures like the Pyramids of Giza and the Sphinx, while Ethiopia is known for the Tiya Stelae and other megalithic sites with stelae and dolmens. Yemen contains megalithic structures from the ancient kingdoms of Saba and Himyar, though specific site names are not detailed in these results. In Korea and Japan, megalithic sites include stone circles, dolmens, and tumuli from the Jomon and Jomon-like cultures. Peru is home to the massive Sacsayhuaman fortress and other Inca sites with huge stone walls.
 

Egypt 

• Pyramids of Giza and Sphinx:

Iconic and massive stone structures primarily built as tombs for pharaohs and a monument to a mythical creature.

• Temples:

Large stone temples, such as the Karnak Temple Complex and Luxor Temple, exhibit impressive megalithic architecture.

Ethiopia 

• Tiya Stelae:

A UNESCO World Heritage Site featuring megalithic stelae (standing stones), tumuli (burial mounds), and dolmens (stone burial chambers) dating to the Late Neolithic and early Bronze Age, according to Testbook.

• Omo Valley Stone Platforms:

Associated with the Bodi peoples, these stone platforms were likely connected to ritual activities, indicating a strong tradition of megalithic construction.

Yemen 

• Sabaean and Himyarite Ruins:

Ancient kingdoms like Saba and Himyar left behind significant megalithic structures.

• Marib Dam and Ma’rib Dam:

An ancient dam that used megalithic construction techniques, demonstrating advanced engineering in the region.

Korea 

• Dolmen Sites:

Korea has many dolmen sites, with one of the largest being the Damyang dolmen site.

• Stone Circles:

Found across the country, particularly in the Jomon culture, these are large arrangements of stones that were likely used for ritual or astronomical purposes.

Japan 

• Tomb Mounds:

The extensive tumuli (burial mounds) of the Kofun period, like the Tomb of Emperor Nintoku, are large megalithic structures.

• Jomon Stone Circles:

Prehistoric Jomon people constructed various stone circles, some of which are found on the islands of Hokkaido and Honshu.

Peru 

• Sacsayhuamán:

A fortress on the outskirts of the city of Cusco built with massive, interlocking stones.

• Machu Picchu:

The ancient Inca city, with its walls and buildings, showcases incredible megalithic masonry, where stones are fitted perfectly without the use of mortar.

• Ollantaytambo:

An important Inca site with formidable stone walls and terraces built from enormous megaliths.’

See also:

• Yemen’s Ancient Megalithic Mysteries Part 1 – Timna’s Cyclopean Architecture: Yemen’s Ancient Megalithic Mysteries Part 1 – Timna’s Cyclopean Architecture
• Yemen’s Hidden Megaliths: Baraqish, Awwam, Barran, and the Old Marib Dam: Yemen’s Hidden Megaliths: Baraqish, Awwam, Barran, and the Old Marib Dam
• Uncovering Ethiopia’s Ancient Megaliths Part 1: The Mysteries of Axum: Uncovering Ethiopia’s Ancient Megaliths Part 1: The Mysteries of Axum
• Uncovering Ethiopia’s Ancient Megaliths Part 2: Pre-Axumite Temples and Connections to Yemen: Uncovering Ethiopia’s Ancient Megaliths Part 2: Pre-Axumite Temples and Connections to Yemen
• Ethiopia’s Ancient Megaliths Part 3: Lalibela’s Rock-Hewn Churches & Mysterious Standing Stelae: Ethiopia’s Ancient Megaliths Part 3: Lalibela’s Rock-Hewn Churches & Mysterious Standing Stelae
• Secrets in Stone: Secrets in Stone – YouTube

I have spent the entire summer carrying out research for my next book – ‘Mediation of Cultural Heritage Disputes’, and am on schedule to complete my in-depth reading of the Research Handbook On Intellectual Property and Cultural Heritage (2022) edited by Irini Stamatoudi, in two days time.

While the book was not written for Mediators, it has sparked new and creative ‘win/win’ ideas in my mind, for both Mediation and Mediation Advocacy in Cultural Heritage Disputes – which almost uniquely, take place within the shared space of overlapping Public International Law and Private Law dimensions.

That essentially leaves two more books to read in-depth in September:

·       The Settlement Of International Cultural Heritage Disputes (2014) by Alessandro Chechi; and
·       China, Cultural Heritage, And International Law (2018) by Hui Zhong,

So, by the end of September, I will have completed my 1st in-depth ‘reading run’ of nearly all of the ‘core’ titles for the book, that are listed in the Research Bibliography on the ‘Mediation of Cultural Heritage Disputes’ page at www.carlislam.co.uk.

Then I can start putting pen to paper in October.

In parallel, I will carry out two more reading runs of the entire research material, as the draft of the book progresses, and I have already assembled my first outline draft of the book, i.e. as the anatomical skeleton of the book.

Meanwhile, I am going offline until my next online talk to the SCMA on 11 November 2025 – ‘Mediation of International Cultural Heritage Disputes – Part 1: Introduction & Overview.’

For more information about the book, please visit the ‘Mediation of Cultural Heritage Disputes’ page at www.carlislam.co.uk, which contains the current Chapter Structure.

AI – ‘Yes, ancient art encodes a significant geopolitical legacy for mankind. Far from being simple decorations, these visual messages communicate beliefs, social hierarchies, and power structures that define geopolitical realities.

While not always explicit like a modern political map, the narratives in ancient art provided the foundational context for how people understood their place in the world and their relationship to other societies. 

This is evident in several aspects of ancient art:

• Political propaganda: Ancient rulers and elites used art to reinforce their status and authority. Through idealized portraits and depictions of military victories, they communicated a specific political message to their subjects and rivals. For example, Roman victory arches and Egyptian tomb paintings celebrated military conquests and reinforced imperial power.
• Geographical and territorial claims: The art of ancient cultures could be used to make claims about their ancient ethnic origins and contested territories, especially as foundational stories for modern nation-states. For instance, a 19th-century Liebig trading card series on French history depicted the Gallic leader Vercingetorix’s defeat by the Romans as a foundational national episode, associating the modern state with ancient inhabitants and their land.
• Cultural dominance and international relations: Ancient art was not static. The movement of artifacts, whether through trade, plunder, or diplomacy, played a role in international relations. The display of certain artifacts in foreign capitals was an assertion of modernity or a tool for diplomacy. For example, the traveling exhibition of Tutankhamun’s artifacts during the Cold War was a powerful statement of Egyptian modernity.
• Encapsulation of social values and conflict: Art can reveal how societies conceptualized war, peace, and their relationships with outsiders. For example, ancient depictions of peace as a female figure, or war as a normal state of being, influenced how real-world conflicts were handled. Studying these representations offers insights into the “win-lose conceptualizations” of ancient geopolitical dynamics.
• Coded communication: Ancient art, particularly in tombs, sometimes used symbols to encode hidden messages, such as military strategies or political secrets. This reveals a deep and complex level of geopolitical thought beyond surface-level representations. Artificial intelligence is now being used to decode such ancient symbols, offering new insights into historical politics.
• The landscape as a geopolitical text: Ancient cultures often attached specific meanings to landscapes, which were then reinforced through visual art. This helped to shape national identities and the geopolitical self-perception of a people. This “geopolitical gaze” used art to define territory and a people’s place within it.’

My Q. – ‘What coded communications in Ancient Art e.g. symbols has AI decoded?’

AI – ‘AI is used to decode ancient texts and symbols by recognizing patterns, restoring damaged inscriptions, and assisting scholars in translating lost languages, with successful applications in ancient Cuneiform, Egyptian Hieroglyphs, and Latin. AI-powered tools like ProtoSnap and Fabricius identify and reconstruct symbols, while projects like Google’s Aeneas help scholars restore missing Latin words in inscriptions, expanding our knowledge of ancient history.  

Cuneiform 

• What it is:

The world’s oldest known writing system, featuring wedge-shaped symbols on clay tablets.

• AI’s role:

Projects like ProtoSnap use AI to recognize and reconstruct cuneiform characters with high accuracy, even accounting for stylistic variations. This speeds up the translation of the vast number of digitized cuneiform tablets, expanding our understanding of ancient Mesopotamia.

Ancient Egyptian Hieroglyphs 

• What it is: A complex writing system of symbols and images used in ancient Egypt.
• AI’s role: The abricius program employs machine learning to assist researchers in decoding hieroglyphs. Users can upload photos, create digital layers, and the program can suggest potential translations, making the process more accessible.

Latin Inscriptions 

• What it is:

Ancient inscriptions written in the Latin language, often found on stones and monuments.

• AI’s role:

AI models like Aeneas are trained to compare new inscriptions with thousands of known examples. This allows the AI to suggest reconstructions of missing words, assign texts to historical provinces, and even estimate dates, offering valuable insights to historians.

How AI Works in Decipherment

• Pattern Recognition:

AI, particularly through machine learning, excels at recognizing complex patterns in images, which is crucial for identifying and interpreting ancient symbols. 

• Data-Driven:

By analyzing vast datasets of digitized texts, AI learns the relationships between different characters and sequences, helping to reconstruct broken or faded writing. 

• Augmenting Human Expertise:

AI tools like Fabricius and Aeneas are designed to support, not replace, human experts. They provide powerful assistance, enabling scholars to work more efficiently and make new discoveries.’