According to AI today – ‘The British Museum has removed or amended the term “Palestine” from some ancient Middle East display labels and maps following complaints that the terminology was used inaccurately to describe regions from 1500–1700 BC.
The museum indicated the term is no longer considered neutral for historical contexts, opting for more precise geographic or historical terms like “Canaan,” “Judah,” or “Israel” for those periods.
… A pro-Israel legal group, UK Lawyers for Israel (UKLFI), argued that applying the term “Palestine” to ancient civilizations (like the Hyksos or Canaanites) was “retroactive” and historically inaccurate … The museum stated that, while the term was previously used as a geographic descriptor, it “no longer holds a neutral designation and may be understood in reference to political territory”. …’
‘The first reference to Palestine is on the Egyptian monument of Medinet Habu in 1186BCE.’ (William Dalrymple).
‘The name Palestine is the most commonly used from the late Bronze Age (from 1300 BC) onwards [see full quote in my comments]. … The legend of the Israelites’ conquest of Cana’an and other master narratives of the old Testament (or “Hebrew Bible”) – a library of books built up across several centuries – are mis-narratives designed to underpin false consciousness, not evidence-based history which promotes truth and understanding. … History curricula should be based on contextualised historical facts, empirical evidence, archaeological and scientific discoveries, not on conventional opinions or the fictional narratives of the Old Testament and religio-political dogmas repeatedly reproduced in the interests of powerful elites.’ (‘Palestine: A Four Thousand Year History’ by Nur Masalha).
For a discussion of the cultural and historical significance of the art and architecture of ancient ‘Palestine’, see my blog today at www.artandcivilization.tv – ‘What is the culturally and historically distinctive and dominant aesthetic in the art and architecture of ancient Palestine?’
See also my recent blog – ‘In ancient art and architecture what is the aesthetic of Classical Idealism or Canonic Order?’
The art and architecture of ancient Palestine (often referred to in archaeology as the southern Levant or Syro-Palestinian region) hold immense significance as a record of a ‘crossroads civilization’, acting as a bridge between the great powers of ‘Egypt’, ‘Mesopotamia’, and ‘Anatolia’.
It is defined by its synthesis of foreign styles with local traditions, reflecting thousands of years of cultural exchange, urbanization, and religious evolution.
The art and architecture of this region are, in essence, a testament to the resilience of a local cultural identity that managed to integrate and re-contextualize the influences of successive empires, including the Canaanites, Egyptians, Philistines, and Israelites.
The defining characteristic of the Art and Architecture of Ancient Palestine is – ‘Resilience’.
Comments added:
‘The name Palestine is the
most commonly used from the late Bronze Age (from 1300 BC) onwards. The name is
evident in countless histories, Abbasid inscriptions from the province of Jund
Filastin, Islamic numismatic evidence maps (including “world maps” beginning
with classical antiquity) and Philistine coins from the Iron Age and Antiquity,
vast quantities of Umayyad and Abbasid Palestine coins bearing the mint name of
Filastin. … [The] manuscripts of mediaeval al-Fustat (Old Cairo) Genizah also
referred to the Arab Muslim province of Filastin. From the late Bronze Age
onwards, names use for the region, such as Djahi, Retenu and Cana’an, all gave
way to the name Palestine. Throughout Classical and Late Antiquity – the term
used by historians to describe the period between the 3rd and 8th centuries AD
a transitional period from Classical Antiquity to the Middle Ages in the
Mediterranean world, Europe and the near East – the name Palestine remained the
most common. Furthermore, in the course of the Roman, Byzantine and Islamic
periods the conception and political geography of Palestine acquired official
administrator status. …
(‘Palestine: A Four Thousand Year History’ by Nur Masalha).
‘The legend of the Israelites’ conquest of Cana’an and other
master narratives of the old Testament (or “Hebrew Bible”) – a library of books
built up across several centuries – are mis-narratives designed to underpin
false consciousness, not evidence-based history which promotes truth and
understanding. … History curricula should be based on contextualised
historical facts, empirical evidence, archaeological and scientific
discoveries, not on conventional opinions or the fictional narratives of the Old
Testament and religio-political dogmas repeatedly reproduced in the interests
of powerful elites.’ (‘Palestine: A Four Thousand Year
History’ by Nur Masalha).
The dominant, aesthetic, was,
not, uniform but, rather, a ‘rich, tapestry’ of interactions:
(i) ‘Adaptation over Invention’ – A tendency to adopt or mimic foreign styles
(Egyptian, Mesopotamian, Aegean) and adapt them to local needs.
(ii) ‘Functionalism’ – A strong focus on, utility and, efficiency in
architectural layout.
(iii) ‘Resilience’ – The use of materials (stone) and techniques (compaction),
designed to last amidst conflict.
Note also that the aesthetic of
‘Classical Idealism’, characterized by symmetry, balance, idealized human
forms, and harmonious proportions derived from ancient ‘Greek’ and ‘Roman’
traditions, is manifested in the art and architecture of ancient ‘Palestine’.
See my blog at www.artandcivilization.tv – ‘In ancient
art and architecture what is the aesthetic of Classical
Idealism or Canonic Order?’
Note that in contrast to the
art and architecture of ancient ‘Palestine’, that the aesthetic of ‘Classical
Idealism’ is not generally manifest in ancient ‘Canaanite’ and
‘Israelite’ art and architecture.
Instead, the artistic and architectural traditions of these cultures were
characterized by different aesthetic, religious, and symbolic goals, often
influenced more heavily by Egypt, Mesopotamia, and Phoenician styles.
Due to religious prohibitions against ‘graven images’ (Exodus 20:4), Israelite
art avoided the human-focused ‘idealism’ found in ‘Classical art’. Artistic
focus was on abstract, geometric, or floral patterns.
British Museum removes word ‘Palestine’ from some display
Museum revises labelling on maps
and panels, saying term used inaccurately and no longer historically neutral
https://www.middleeasteye.net/news/british-museum-removal-term-palestine-displays-part-systematic-attempt-erase-it-history
‘Erasing history’: British Museum
criticised for removing references to ‘Palestine’ from exhibits
Move condemned by scholars and
activists as part of a ‘systematic’ attack on Palestinian cultural identity
Note that under the
International Criminal Court Act 2001 (ICCA 2001), Genocide is an offence
against the law of England, Wales, and Northern Ireland. The legislation allows
for the prosecution of these crimes, even when committed abroad, under specific
circumstances.
The crime of complicity in a Genocide committed abroad can be prosecuted in a
UK court, but generally only if the perpetrator is a UK national, resident, or
member of the UK armed forces at the time of the offense.
The International Criminal Court Act 2001 allows for prosecution of
ancillary acts, including aiding, abetting, counselling, or procuring, related
to Genocide, even if committed outside the UK, provided the
residency/nationality criteria are met.
Backlash Erupts After British
Museum Removes ‘Palestine’ From Displays
The British Museum removed
references to “Palestine” from some ancient Middle East displays. The decision
has drawn criticism from scholars and activists.
‘Ridiculous of the British
Museum to remove the word ‘Palestine” from its displays, when it has a
greater antiquity than the word “British”. The first reference to
Palestine is on the Egyptian monument of Medinet Habu in 1186BCE. The first
reference to Britain is the 4th century BC when it appears in the work of the
Greek traveler Pytheas of Massalia.’ (William Dalrymple, Historian and Author,
commenting on X about what the British Museum has done).
‘I use the term “ancient Palestine” frequently in my own research and will continue to do so,’ Marchella Ward, a lecturer in classical studies at the UK’s Open University, told MEE.
She added that claims the term is late-coming or illegitimate are a ‘lie’ aimed at ‘the erasure of Palestinians and in support of Israel’s ongoing genocide against them’.
(Source: MEE – 15.02.2026).
To educate yourself about the origins of Palestinian cultural identity, I recommend – ‘Palestine: A Four Thousand Year History’ by Nur Masalha.
‘This rich and magisterial work traces Palestine’s millennia-old heritage, uncovering cultures and societies of astounding depth and complexity that stretch back to the very beginnings of recorded history.
Starting with the earliest references in Egyptian and Assyrian texts, Nur Masalha explores how Palestine and its Palestinian identity have evolved over thousands of years, from the Bronze Age to the present day. Drawing on a rich body of sources and the latest archaeological evidence, Masalha shows how Palestine’s multicultural past has been distorted and mythologised by Biblical lore and the Israel–Palestinian conflict.
In the process, Masalha reveals that the concept of Palestine, contrary to accepted belief, is not a modern invention or one constructed in opposition to Israel, but rooted firmly in ancient past. Palestine represents the authoritative account of the country’s history.’ (Amazon page for this book).
